I was born in an Italian family in Buenos Aires on the 3rd of June 1977, but my family moved to Pordenone in 1990. My concept of art is strengthened through having grown up overseas. Due to my origin, and because of the people and places I knew during my childhood, I am used to paying a great attention to "everyday life".
From 1991 to 1996 I attended the Istituto Statale d’Arte (State School of Arts) in Cordenons, where I passed my school-leaving examination on Arti Grafiche e della Fotografia (Graphic Arts and Photography). However, my school education restrained my spontaneity, which I expressed, for example, through action painting, driving me to seek new goals in paging and image editing.
My first works are characterized by a continuous pursuit of an identity as an artist. My curious attitude has led me to experiment with many different techniques, but oil painting remains my passion and man is my favourite subject, seen both from an inner perspective (as in the naked portraits) and from an outer perspective (in the portraits of the landscapes modified by their action and activities).
During the following years I worked for some of the greatest photo labs in the region of Friuli Venezia Giulia. This experience has increased my need for researching the image. In fact, digital photography and computer technology are an important tool for my painting. I use photography not as a style to imitate, but as a reference during my observation of reality. It gives me the possibility to have an immediate memory ready to use in countless ways.
Time is a crucial factor during the processing of reality, a time which is always inexistent, passing by, flying away. I make use of the concepts of Futurism and I notice they are still highly topical. Therefore also my painting runs fast: I lay the colour on the canvas in broad, firm, and sometimes brisk strokes. I want to give an aesthetically valuable shape to the transience of life and to everything which cannot be fixed in details. I focus my Energy on portraying what memory has retained, what is essential to evoke a memory in the viewer.
I observe anything which has been invented by man for his fellow beings: roads, artificial lighting, buildings, cars. I am concerned by progress, which is able to turn the places where my ancestors were born into common places without an identity of their own. The increasingly rapid change of landscape deprives men of their history and make them "aliens" in their own homeland.
This originates a sense of inner disquiet and isolation. Men are trapped into their bodies and obliged to live according to the dictations of society. I paint naked bodies enwrapped in a shapeless plasma, a sort of primeval placenta which reminds viewers of the maternal womb, a place offering heat and protection from a strange and indifferent external world. With our eyes shut we can watch inside ourselves, and imagine a life we would like, running away from the clamour we are living through.
My versatile nature prevents me from lingering too long upon any subject I paint: naked figures, portraits, landscapes, abstract paintings, flowers, copies.
This characteristic is often judged as a defect, but the world is "full of everything" and I can't remain indifferent.
"The world is full of "everything" and I can't remain indifferent".