Flags

From the series “Flags”; oil pencil and ink on paper; 44 x 55 cm. 

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.

Surreal fish

Clown fish. ORIGINAL SOLD.

From the series “Ancient beasts”, oil and pencil on paper, 30 x 21 cm, 2005.

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.

Heart fish. ORIGINAL SOLD.

Shark fish. ORIGINAL SOLD.

Abandoned room

Oil on canvas. 50 x 50 cm, 2018. ORIGINAL SOLD.

This series of paintings was inspired by the metaphysical landscapes of De Chirico. I have always been fascinated by their clear vision of the architecture, with the precise design of the shadows, almost anticipating the modern use of three-dimensional modeling software. In the way I feel, however, more introverted and almost unsociable, the outer space is transformed into a closed one, private and protected, from which the human presence is totally gone away. In those rooms then, it may happen that some strange objects and some unexpected decorations appear, suggesting that the person who lives there has overcome the lack of relationship to the outside world with the richness and complexity of his inner world.

Butterflies and moths

from the series “Please do not kill butterflies”, pins, oil and pencil on paper, 2017. 

Please, all these dead animals ... Of course, not everyone of us can or want become vegetarian. Sure, in some cases, maybe, the medical experimentation needs them to get results. But we really have to kill them for our frivolous activities? ... Is it necessary to have so many pink pigs die in front of a camera? Do we really need to dissect sharks in formaldehyde, to starve stray dogs tied to a chain in the corner of a gallery, or to make innocent ants go crazy in twisted tubes of plexiglas? To make these drawings, no butterfly was killed. 

"The hop moth". 44 x 35 cm, ORIGINAL SOLD.

"The mourning moth". 44 x 35 cm, ORIGINAL SOLD.

"The hop moth". 34 x 23 cm, ORIGINAL SOLD.

Goldfish

Goldfish. Oil on paper, 21 x 15 cm, 2017.

Santorini

SANTORINI

Two original pieces from the series “Houses on the water”, oil on thick paper, 50 x 37 cm, 2016 (original sold).

In this series of paintings I try to blend together the architectural and monumental elements of a place or a city. It 'a bit like recalling to the memory a journey made in the past: it will produce many confused and overlapping images. The title of the series wants to reclaim the idea of a fluid memory, moved like water, and confused like a mirage.

Sewn eyes

Original artwork sold.

Original artwork sold.

Original artwork sold.

Oil and pencil on paper, 21 x 15 cm, 2015.

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.