"have you ever seen an angel?" Painting

auro paints on canvas or paper with acrylics, ink, chalk, graffiti, nails and oil pastel: the latter mainly uses it for let yourself go on the canvas, free as a waterfall. In the initial phase the subjects of his works are mainly the eyes, he devotes most of the time to realize the gaze, which according to him it must transport the observer. Painting is a blind profession. We don't paint what we see, but what we hear, what we do evidence regarding what has been seen. "My intoxication in Art are the eyes. The gaze portrayed on a two-dimensional support, artifact, but what at the same time he manages to hypnotize you, kidnap you, like a real, real gaze. If the eyes are the mirror of the soul, I get drunk with the presumption of putting it on canvas ". Painting is going out of oneself, forgetting oneself, preferring anonymity to everything else and sometimes risking not to be in agreement with one's own century and with their contemporaries. It is the act of opening a passage through an invisible iron wall that seems to be between what you hear and what you can. In the second phase, which begins only after an immense introspection given by encounters with two shamans - one Colombian and one Siberian - and in-depth studies on the treatises of Gurdjieff and Jodorowsky, Mauro is ready to let himself go, enriched by a contamination of Twombly and Basquiat. He decides to stop painting the eyes and make the whole work a soul that is at the bottom of the gaze. He breaks away from the style figurative to embrace Neo-Expressionism, where he is able to express himself fully. Here he has the leap in quality. He has a desire to charm and introject the viewer as when observing a deep and disruptive gaze for the first time, putting together bizarre shapes and deformed to recreate emotions that leave enchanted and intrigued: "I want people to stop in front of my paintings bewitched by a emotional magic ". A mixture of archaic tribalism and esoteric graffiti, whose codes are not all intelligible as indeed semiology wants. A work of art is an externalization, an urgency of our conscious and unconscious, of senses and contradictions, like the complex and multifaceted personality of those who performs. Mine is not an inner search, but now the next phase. A moment in which research is overshadowed to give the following the action, the transmutation, the solve et coagula of the athanor.