Tea for two Print

My work investigates the narrative possibilities of painting and, at the same time, explores its own materiality: the manual work, the comings and goings, the modifications and regrets in the work with oil. I am interested in the fact that the work shows some concerns linked to the construction of images in which easily recognizable elements participate, but which mainly reveal my interest in exploring the resources of painting as a language. I propose to go in search of the motive from the physical and improvised gesture from which the pictorial image emerges. The group of works I present deals with a genre that has been historically covered and updated, researched and re-interpreted, such as still life and flower painting. I am interested in the fact that the pieces that make up this group of works try out different scopes of the versatility and insistence that this genre continues to present in the field of painting and contemporary art. My main concerns, about time and history, the original and its versions, are revealed both in the content and in the work process, allowing me to suggest subtle narratives below the surface of the works. It is important to me that the development of this practice reserves a central place for the different treatments and modes of painting, colour, forms and textures. My intention is that the crossings and developments that arise in the making result in an image that does not cease to belong to the genre I choose but at the same time blurs into questions, conflicts and manages to configure itself in its own ways, related to a tradition and a group of painters that constitute a kind of personal family tree. These works are also influenced by the development of popular culture during the 20th century, the history of jazz, the socio-cultural movements of the 1950s and 1960s, literature and the emergence of the world of rock. In that context I am specifically interested in improvisation as a convention, as a resource and working method that characterized jazz but also extended to other musical styles and disciplines. I take as a reference for my work process the idea of starting from a known formula, classic (the standard), versioned and re-versioned, which serves me as a new starting point.