The creative process comes to life contrived from portraits of the early 1900s to manifest itself in timeless pictures in which the portrait’s definition is no longer tangible but remains a pretext to define a figure, a face, of a woman or a man like so many and none.
The features of the personality are alluded with shadows and expressive enunciations felt by the artist during the act of painting.
The expressive force is filtered by intense technical research carried out during the previous years and by an empirical knowledge of drawing.
The stylistic code of this ouevres is given by the pigment powder that is pressed and veiled directly with the hands on the sheet, while the pressure and lightness are worked with the skin of the hands and with the strength of the emotive concentration, a needful element of an authentic synthesis developed over time.