Flags

 

Oil pencil and ink on paper; 44 x 55 cm each one, 2007.

During the Winter Olympics in Turin in 2006 a large celebratory structure gathered the flags of all participating countries. These flags were displayed one next to each other, in a large matrix, which revealed that the criteria of composition and the formal rules that generated them were more or less equal for all. Also in this series each drawing is a matrix, and each element of the matrix reproduces always the same basic geometric structure, within which, the color fields, the decorations, the shades and symbols may change, in an almost infinite variation. Each small rectangle is a flag, independent and completed in itself, but linked to the other by the formal rules that generated them. Each flag is a possibility in an infinite number of possible variations, where the final choice of a single element has been delayed or has not been accomplished at all. Each drawing is a series within the series. 

These paintings are available for sale at the price of 450 US$ each one, shipping included. Contact me in case you are interested in more information about my work, the sales prices of individual works, or the availability for work on graphics.

Amarillis

 

From the series “Botany’s notebook”, oil and pencil on paper. 16 x 30 cm (6.3 x 11.7 in), 2005.

These are the plants that I grow on my balcony. I have a small balcony with a few pots of flowers, and these are the things I see more when I'm sitting at my desk, and every time I look up from the drawing I'm doing, out of the window, this is what I see. I get distracted, but the distraction brings me right back to the need to draw, so I take another piece of paper and try to sketch the plants, their colors, the shadows and the light reflections dancing on their leaves. When I go back to the work I was previously doing, a little bit of these sketches is transferred into it, and this tells me that my drawings (my thoughts), though apparently distant and very different from each other, talk, communicate and transmit the information all together.

Eyes

Pencil on paper, 10 x 10 cm, 2001. 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.

Xin butchering an animal

Oil on canvas, 2008, 90 x 70 cm. The animal has just been skinned and is about to be cut into pieces. It may be a pig, a dog, or a monstrous being. It could be me, punished and offered in sacrifice to wash a fault that I'm sure I have not committed. This original painting is available for sale at the price of 2650 US$, shipping included. Contact me in case you are interested in more information about my work, the sales prices of individual works, or the availability for work on graphics.

Cats

 Oil paintings on wrapping paper. 1999.

Exotic flowers

Oil and pencil on thick paper, 30 x 30 cm, 1999.

Faces

"Chromosome number 6" and "Chromosome number 8". Oil and pencil on paper, 17 x 17 cm, 1997.

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.