Colors that self-discipline themselves between the chaotic and rebellious processes of artistic making as an almost spiritual experience offered, that expands to the depth of an inner infinity, traceable to the contexts of the soul.

The series “Fuggire Fuggendo” wants to be a work of social/behavioral investigation, designed to manifest the innate need of man with its different forms of integration with the environment and those who inhabit it. The emerging relationships reveal profound transformations and changes in the behavioural/affective sphere.
However, the relationship between the sexes has never been so complicated as today. In my works, the man appears surprised, confused, sometimes stunned, self-marginalized and injured part of society.

An inner lyricism as concentrated and deep as the sea, where life throbs at the rhythm dictated by the currents, which is accomplished and completed through the individual personality of the artist, who stands inaccurate as the mysteries that the sea never reveals.

The sea from which we witness powerless and passive to the theatrical spectacle that accompanies the existence of man, drags us into the restless vortices of distant destinies. Each color clot does not assume aesthetic attitudes of reality but constitutes the element of the tragic becoming, between almost anafettive shades of melancholic visions.

I often observe from which side the clouds travel and it is through the intuitions that I follow luminous indications that I mention symphonic relationships of voids and full. With time I learned to perceive light without seeing it, with innate tendencies to focus my interest on life and its life processes, including everything that reminds them. I imagine indefinite scenes of possible cities, thought and built on the fragile ruins of the contemporary, where the lack of definition, excluding the bold uses of perspective, defines a certain movement.

Long walks without precise destinations, non-physical crossings of places of perception, where abandonment is often the ritual, as when observing the endless expanses of seas, with multiple, unpredictable possibilities with the absence of fear, to never get lost.

The more you read, the more you learn, the more you look and the more you see…

I met people, some loved ones; I found places, without precise destinations; I listened to the voice of people, to know their dreams; I saw people die, some loved ones.

My right dimension, strongly imagined as a child, sought correspondence in the actions to be taken and in the identities of places to be discovered. Given this and once I accepted my restlessness, I interacted with all of this, carelessly leaving my memory and emotional deposit to fill.

Imagine now that all this can be lost, imagine, that our memory is made up of so many layered sections, imagine, that on every small or large section, the experience of each of us is subjugated, Think now of how many of these sections plunge into the dark oblivion of memory.

In this long series produced, I imagined these sections, what was contained inside, I visualized every word, every writing, figures, faces, images, shadows and emotions and I called them pages.

It is from the sound of the deepest silences that the artistic inspiration survives, from the time of the memory of man, the nature of eternity is projected .

The brushstrokes, which are never necessary, sometimes touch each other as if to mark the beginning or the end of another parallel world.

The content appears evident, woven into thoughts as rigorous and tormented as the aspects that life represents, where nothing is ever solved.

In the eternal return of the equal, as in Nietzche’s theories, the universe is reborn and dies following its fixed and necessary time cycles ; so I like to repeat in painting the same subject in its only space, in search of what becomes and changes, of what happened or what I wanted to happen. In the past of consequent visible events that complete the story and in making free impulses coincide with my own will, I am surprised, tired resigned, to the unconditional acceptance of the pure randomness of life…

Art as a form of extreme sublimation indicates a sort of detachment from life and reality.

The sign reached by the crushing of inner elements is manifested through the uncontrollable variations that exist between language and reality. The abstraction of a feeling, with in my case, allowed me to occupy all my time with the above production.

A period certainly prolific and protected by the feeling from whose residue alone, have come to life countless, imperturbable games of elementary figures. In the act of giving free expression to my feelings, the original ones, allowing the figures to play their representative role, I overlooked the fact that this free process of externalization, not always could find in time, the elements favourable to its marketing.

Accepting strong exhibitionist components can sometimes create conflict, especially when erotic-exhibitionism and modesty make the work an extremely impudent self-portrait.

Woman in time, archaic motherhood… is the representation intended as a monument to commemorate the perpetual act of giving birth to life, a universal privilege beyond all race and social status. Each sculpture bears above a writing that makes it placeable in its place of belonging. Terre cotte of Limoges since 1995.