"Alchemic square", "+1, Series Triptych+1" Painting

I was born in Perugia in 1974. From an early age I began drawing and fell in love with painting; my first experience with oil paint was around the age of 10 thanks to my mother, who at the time was dedicating herself to this (our sofa was an unfortunate casualty of my experiments). My kit with the necessary tools (colour palette and paint brushes) was ready; with pride and gratitude I carry this faithful travel companion with me every day, it is paradoxically empty so as to welcome the new, and full to the brim in order to transform the old. My work is based on expressionism, abstractism and the informal. My favourite technique is oil painting and the current gallery contains medium and large formats on canvas. Also featured are my explorations on lines and colours through unconscious automatism, evident in the drawings produced with markers, inks and water colours. Colour is the fulcrum of the work; dense and full-bodied to form images, objects, figures that require time to be absorbed – they fluctuate and are left to float in harmony on liquid and generally neutral backgrounds This creates an “abstract form or non-form” of substance similar to reality; an object that sometimes breaks-up or in other instances dances gracefully between glazes and mists, it is self-defined in an open space yet is also contained and delimited. The lines in automatic drawings are created spontaneously following an internal perception of rhythm: from the beat due to an emotion or idea to the sound of the sea and the wind. From these whirling rhythms emerge natural elements or dreamy, fantastical images that edge towards a fairy-tale. The colour is often diluted and touched-up, the lines thicken and overlap to create planes and soft passages. The roots of my artistic work are traceable in what can be defined as “Informal romanticism”. Renowned art historian Francesco Arcangeli, in his works “The Last Naturalists” (1954) and “From Romanticism to the informal” (1977), states that painters such as Turner – without forgetting impressionist Monet, Constable, Corot, Courbet, Cézanne, Klee, Morandi, Pollock, de Kooning, Fautrier, Dubuffet, Morlotti, Burri, Leoncillo and Vedova – had the ability to transfer sensations derived from their confrontation with the natural figure through their painting style and approach.