"Processione" Painting

He completed his MA in Illustration at the Istituto Europeo di Design (IED), Milan, Italy, in June '94. He specialized in Oil Painting and 3D Film Animation. He taught art at the Latin American House, London.
For the last few years I have not been able to paint anything but places, angels, demons and intermediate figures, using vivacious and bright colours which recall the South of the world. And now, presenting them on stage and taking a retrospective view, I find profound analogies with our present political and social time.
In this extraordinary worldwide political reality there is a growing desire for "transformation", a desire for a "soft revolution", above all on moral values. Nevertheless at the same time I perceive a widespread feeling of restlessness, a subtle sensation of insidious danger hiding in this apparent calm.
Perhaps for me these images are "symbols" or "shapes", picking up this restlessness, because we should never forget that images of thought always originate from far away and "other meanings are hidden behind the appearance of the visible."
My recent body of work is a collection of political icons and allegories. Through a unique mixed-media technique — canvas mounted on plywood, fragments of other oil paintings collaged and overpainted in oil, rice texturing, and 3D assemblage — I try to be anti-theoretic and anti-dramatic.
I search for a relationship between form, background and a straightforward use of color which in turn becomes a module of texture: a symbolic decor made of flags, arabesques and signs which articulate as a form of writing.
Works such as Democrazy, Folle Portatrici (The Crazy Bearers), Attitudini (Attitudes), Revolution, The Triangle, BMW (Get Up!) and Yellow Fishes explore the same question: who carries the weight, who governs the planet, and how multinationals (the Seven Sisters), subverted logos, and social media (Google, Facebook, Twitter) have become the new saints and the new flags. Religion, power narratives, and world flags are used both as pretext and as decoration.
I have searched for a free stylistic formula, a visual language that strives for direct communication, a point of contact with the "social" — a new form of primeval language that belongs to the "art of the present".