Great spotted woodpecker Drawing

Watercolor and ink on 100% cotton paper, 640 gr. In these works I use colors and lines. The color, more or less vivid, characterizes the animal and makes the images stand out, giving them a strong visual impact. It is a very free watercolor: It is not minutely descriptive, for the most part is given by backgrounds of various shades of free exit from the boundaries of the forms and mixed in other shades in a random way. I use the line to describe the volumes of figures almost as if they were sculptures. Through it I reproduce the exterior and at the same time the interior of every thing, of every one of my animals, which are thus externally composed of their physical presence, thanks to the rather large dimensions of the drawings, while internally and in detail they contain so many "little worlds" that represent what can be found inside each of us, by way of knowledge and sensibility, that is, living beings from multiple facets. This is what I call the "micro in the macro": an endless series of ever smaller universes belonging to something but getting bigger, a spiral that does not begin or end. Looking at the whole figure we can recognize the drawn animal, but if we only look at one part omitting the 'whole thing, the figure becomes abstract. Each form can give rise to a universe of its own, to other ideas, fantasies and inspiration I use special cuts for images, never represent the whole animal at the center of the picture. By taking only a portion, or detail, so you have the 'impression that it can continue out of the picture, as if it had just appeared or was about to leave. This "appearance" is accentuated by the white background, or otherwise monochromatic, that decontestualizes the animal from any infrastructure or belonging to a daily reality. I like to give my titles works like "Being Horse" or "Being a Peacock" because I try to represent the intimacy of the animal, its solar character, its beauty and strength, but also its dark, wild, side light and shadow, its "animal essence". Drawing I try to be that animal; the direct knowledge I have the animal world, especially the horses, having worked with them for several years, helps me in my work: I remember their muscle mass, I remember their anatomy, their movements, I remember the tactile sensation of the various parts of their body, I remember the small signs to grasp to understand their language. Therefore, "Being Animal" becomes the essence of the animal represented and a condition in representing it. Become the animal to catch its essence.