The research is based on a communicative need that transcends the individuality of the depicted subject to create an interpretation open to the viewer’s eye.
Although the subjects’ iconography identifies the photography of the 1900s as food for thought, the subject is however decontextualized and depicted in an essential form to be placed in a natural environment. The redefinition takes place until it reveals an anonymity that distinguishes it only as a physical presence for a perpetual and undefined period of time.
In the pictorial matter, you are immersed within the randomness of the gesture but also in a combination of tension, research and technique that merge in a single unpredictability of execution. A way of living the artistic medium outside the academic framework and the most daring expressionism, lays the foundations of this artistic research.
This is represented by the calibration of the emotional gesture that brings the technical expressive sensibility to a language unbounded from any deciphering and free from any pattern or pictorial fault, both of which are not contemplated. Working with an alla prima painting brings in all these combinations that manifest themselves in a single time all together.
The outrightness and the will to highlight the expression of the moment as well as the subject depicted, is sought after. The painting itself is characterised by a swift and determined execution that assumes expressive value and technical incisiveness. The act of painting takes on the value of emotion and reveals that which is darker than matter.