Turtle and lizard

 

An original piece from the series “Ancient beasts”, ink on paper, 30 x 21 cm, 1999.

The medieval illustrators represented animals that they had never seen, described by others, or derived from mythology. This generated monstrous creatures. From here comes the idea of a common set of animals, which are deformed with the help of redundant decorative codes. To simulate the ancient miniatures, I use ink and uniform color areas.

Imaginary portrait

IMAGINARY PORTRAIT.  Oil on canvas, 30 x 40 cm, 1997.

A series of very simple small works, almost trivial: each painting depicts a face and an expression.

Is it possible to create a catalog of all the expressions of the human face? Is it possible to classify all the attitudes that our face can take and give a name to each one? No, obviously, because the expressions are endless, as well as the possible variations in the human physiognomy, so that a certain attitude, worn by different faces, can assume from time to time different meanings. It's a game in which the variables are too many to govern, a sort of indeterminate equation. But then, what sense can have a job like that? Indeed, it could be interesting to investigate why, who portrays the faces, has chosen these, among all the possible infinite combinations. There are some recurring elements? The expressions are mostly happy, or sad and pensive? The eyes are directed towards the observer, or are they absent, facing something hidden? Eventually, this collection of chromosomes will not be able to describe a kind of genetic code, but it will be something very close to the genetic code of the artist.

Mirror of desires

From the series “Mirror of desires”, oil and pencil on paper, 12 x 30 cm, 1997.

This is a naked body spied through the keyhole. The naked person, not knowing to be observed, he feels safe, he thinks he is alone. Who is hidden, who spies, seizes first the nakedness of the body, and this excites him, like a cheap porn movie with an actor who masturbates behind a door, while someone in the next room is having sex.

Chromosome number 1

An original piece from the series “Chromosomes”, oil and pencil on paper, 17 x 17 cm, 1996.

A series of very simple small works, almost trivial: each drawing depicts a face and an expression. Is it possible to create a catalog of all the expressions of the human face? Is it possible to classify all the attitudes that our face can take and give a name to each one? No, obviously, because the expressions are endless, as well as the possible variations in the human physiognomy, so that a certain attitude, worn by different faces, can assume from time to time different meanings. It's a game in which the variables are too many to govern, a sort of indeterminate equation. But then, what sense can have a job like that? Indeed, it could be interesting to investigate why, who portrays the faces, has chosen these, among all the possible infinite combinations. There are some recurring elements? The expressions are mostly happy, or sad and pensive? The eyes are directed towards the observer, or are they absent, facing something hidden? Eventually, this collection of chromosomes will not be able to describe a kind of genetic code, but it will be something very close to the genetic code of the artist.

Eyes

Eyes. Pencil on paper, 10 x 10 cm, 1996. I've always been attracted by the eyes, and by the sensuality that comes from the attempt to represent their liquidity, transparency, shadows and shades of colors. Drawing the eyes is a simple exercise, but it lends itself to endless variations. On this subject I apply my obsession for decoration, and so I try to investigate what is the limit beyond which the subject of the drawing is no longer the eye, but the decoration itself. The small size allows me to combine a simple subject to a decoration exasperated. The choice of the eyes stems from the idea of the makeup, which is basically a form of decoration.

Yellow angel

Oil on canvas, 100 x 50 cm, 1993. 

Under the sun

 

Oil on canvas, 80 x 70 cm, 1992.