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Beyond the subject itself, the expression of the ensemble, seen as a whole, transpires also from auxiliary ambiental elements, between which I use to place my models, as we could see in such works where a nocturnal space or a wooden wall – i.e. – are assuming esthetical essences that become inserted in a definite expressive network.

The concept for a great part of my works brings to the foreground a possible way to define or even discover ourselves by the use of environmental elements, as when these would correspond somehow to our inner structure, as public, letting us an open invitation to a potential intimate meeting in a virtual but every time different inner space of the image.

The manner I approach often is the classical one, tributary to easel-painting or drawing, using as support canvas, cardboard or paper, because on this technically range I found myself for now better defined; therefore I believe that the alternation between oil and pastel – i.e – could reveal with more accuracy the sensitivities of my themes.

In my painting I approach figurative genres, like landscape, still life, portrait or figures, even that I can better find myself in the genre of landscape. I am an artist of atmosphere or feeling, because what I am looking for is capturing and showing to my public, are not as much as the quotidian surrounding aspects, but an intimate essence, hidden behind them. There is a type of unseen pictural matterinside of every seen element, that if you manage to catch it in your art, it can establish a bouncing dialogue between art and public, as it could continuously call us into the intimate ensemble of the image. This is also what I’m looking for:  making the public to understand better than the seen nature comes differently every time with newly, unrepeatable esthetical valences.  


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