Il bacio di Giuda (The kiss of Judas) Painting

In my paintings I try to transmit to the viewer the visual sensation that I receive from my way of perceiving the world around me, or from my imagination. With the color I look for an aesthetic effect, not to express an emotion. The theme is, in most cases, interpersonal communication, which fascinates me with its countless facets. The subjects, individuals and couples, are extrapolated from the real context and represented, regardless of what they are, essentially as forms of different color in relation to the monochrome background, with a mainly visual, and in a certain sense abstract, intention. Since there is not, in fact, a volume effect (if not in a minimal part), figures and space form a unique and colorful context; in other words there is no distinction between content and containing although the contour lines are defined. A space that gives itself as a two-dimensional surface, the flatness referred to by Greenberg, as a formal element of painting.. Not seeking the illusion of depth, I go towards abstract painting that, as is known, breaks with the illusionistic canon of three-dimensionality and therefore with every descriptive purpose. One could however speak of a narration because there is an interaction between the figures that, although torn from the context and projected into an unreal dimension, bring with them something essential about themselves and their stories. I love strong, intense, vivid colors; I often use primary colors and put them next to the complementary ones, and I like to spread them in uniformly colored backgrounds so that the brush strokes are not distinguisheble. It also intrigues me to play with the relationship of scale between space and object of the representation, an object that sometimes seems to come out of the confines of the canvas which does not completely contain it, sometimes it is immersed in the void; like Alice in Wonderland, which magically becomes tiny or huge depending on the circumstances. I change sometimes the point of view, framing the subjects from above (bird's flight) or from below, or inserting into the painting all that my eyes see, including parts of me (a foot, a knee) if they fall into the my visual field.