Working with abstractions in visual arts is, in a way similar to poetry, a meaningful way of dealing with the contradictions that humans have - specifically regarding the way we relate to ourselves, to each other and to the environment. Symbols and symbolic language allow an approach to subjects in a non-literal way, integrating different perspectives and ultimately, the seemingly paradoxes and mysteries of life.
After gathering enough information about my subjects, I start the journey of creation itself. Similarly to the research process, there’s an enormous personal investment into discovery – this time, of both the artwork and myself, as we unfold. This is a deeply personal path of inquire and transformation, with a full body and mind attention, similar to a meditative state. I spend much time researching the subjects of my series in advance, between one and two years. The ideas generally come up connected to an element, a detail, from a previous series, to which I then direct my full attention, both with my mind, emotional body and the senses. Integrating these aspects is what I believe allows me to transcend the mere aesthetic representation and work integrating deeper meanings.
I dedicate many hours into finding the best materials, to communicate clearly both my aesthetic and ethic intentions. Because of this, the research for the sustainable materials is a constant part of my working process. I look for the best, long-lasting ones, while looking for durability and textures. These are things that, unconsciously, have an appeal to our senses. I perform the same research on pigments, looking for their ecological qualities but also into their processes of production, their tonal range and resistance, and how they dialogue with the surface where they’ll be used. I believe only a full commitment to the choices we pursue allow for excellency to emerge - and ultimately, that is my aim.
All of this goes before the act of painting - which, in itself and if all goes well, can take up to four weeks to finish. The time invested depends on the dimensions and the technique used. A very important issue is related to corrections: the technique I use seldom accepts corrections; therefore, if a mistake is made by week two, I have to start it all over again. By example, on the series Between the Sea and the Shore, I barely made sketches or studies of the artworks, only diagrams. However, due to the large technical investment in most of these pieces, mistakes turned very expensive. On the other hand, if on the series Undeniable, mistakes were easier to dealt with by restarting again, since the each painting was done quicker; but the preparation level for the gestual technique of the paintings was much higher. Because of this, many paintings didn't make it to the final.
I chose to display and made public only the works that I feel represent my aims: to be truthful, beautiful, universal, with an altruistic intention and that others can feel a shared sense of belonging and care for life.
With my work, I aim to achieve a limitless time through substance and approach, working through questions I believe to be pertinent to us all. The entire process of creation - from idea to research, to painting and sharing my work, is anchored in a meticulous attention to detail. Lastly revealed in the choice of pigments and the proportions to which they mix and compound new, unique colours, in a dialogue with textures and my own signature gesture of composition, these qualities orchestrate together with the intention of a harmonic, dedicated, visually appealing connection to nature - caring for the next generations to come.