In the cycle of "Terrae" pictorial canvases are reproduced in raw clay. Iconography is the object itself, image and absence coexist in a simulacrum of living and primordial matter.
Fragility is theme and subject, the emptiness of the image is filled by the poor substance of matter. The desire for painting finds a human perspective in its relationship with the earth and the cosmos. 

FRAGILIS TERRAE

Canvases in ceramic plaster and graphite belong to the Animula vagula blandula cycle, title taken from one of the chapters of the novel Memoirs of Hadrian by the great writer Marguerite Yourcenar inspired by an intense poetic composition by the great Emperor. Drawing, Painting, Sculpture get confused, they talk to us about the origin of visual language and the impossibility of forcing it into a definition. Of the vagueness of concepts and feelings and of the permanence of Art.
The images are the result of an involuntary process that denied the control of the outcomes. 

ANIMULA VAGULA BLANDULA

In the cyc!e of the "Poussière" the painting finds the light and slow time of the technique, but pro­ceeds towards the cancellation, engaged in its own undoing. It stops on the threshold of absence, inviting us to contemplate it, emphasizing the ability of painting, the painter and the model, to enter the depths of the human soul in a mutua! and incessant exchange. 
On the canvas the subject affirms the need to grasp the value of the voids of shadow and the emerging lights, a sublimated space interposed to the sensitive gaze towards his visual source. The ashen monochrome as a naked bare of existence. 

POUSSIÈRE - YOUNG MAN LOOKING AT HIMSELF WITH LORENZO LOTTO

POUSSIÈRE - FAR

New pictorial cycle whose name derives from the particular materials used and composed: handmade papers according to ancient procedures and "painted" with pollen, raw clay and graphite. The collage that makes up the visual structure through superimposed geometric patterns is the result of a thoughtful search for relationships between the parts, individual universes defined by the fertile matter of pure bee pollen and the anthropological and poor matter of inert earth. Graphite as the primary element of the graphic sign that originates the expressive act, determines, by contaminating the earth in different quantitative proportions, the dialectic and the light-shadow metric. The outcome is always the result of a concentration of thought that seeks interior accords as in the silent whisper of a prayer.

BOOK OF HOURS (SPIRITUAL EXERCISES)

In the cycle of the "Aporias" the works are presented to the look as unsolved, saturated hourglasses, for an immeasurable restrained time, in which the glass retains the bee pollen dust from its own generative dispersion. A vague semblance constitutes the threshold of a dramatic tension between light and shadow. Iconic evocations linger in the slit that separates the loss of enlightened thought from the need to arouse it. The artificial dust of the fusion of ceramic ink on glass and the natural dust of bee pollen accentuate the life-death relationship and the need for a spiritual longing.

Memento - Aporia

In the cycle of the "Aporias" the works are presented to the look as unsolved, saturated hourglasses, for an immeasurable restrained time, in which the glass retains the bee pollen dust from its own generative dispersion. A vague semblance constitutes the threshold of a dramatic tension between light and shadow. Iconic evocations linger in the slit that separates the loss of enlightened thought from the need to arouse it. The artificial dust of the fusion of ceramic ink on glass and the natural dust of bee pollen accentuate the life-death relationship and the need for a spiritual longing.  

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