In my artistic research I've always been attracted to all that is sortable, classifiable. Perhaps this attitude stems from a primordial insecurity, and perhaps the illusion of putting order into chaos eases this concern. To start this game is sufficient to identify a subject that lends itself to variations, and the game consists precisely in identifying the rules that form the basis of possible ch
anges. It 'a little like discovering a new language and trying to decipher the syntax, grammar, exceptions. With these assumptions, it is easy to see that the subjects of this research can be the most different and in fact my designs ranging from butterfly collections to herbaria, from ancient bestiaries to manuals of anatomy, maps, human faces, hands, pornography, flags ... They are all languages having their own vocabulary, and my attempt is to isolate it and reinvent it, trying to generate new meanings. They are born with a practical, precise purpose. Some graphic conventions, signs, symbols are chosen to represent on paper all the information that the map must contain. This at the end generates an aesthetics. What happens if I isolate this technique of representation from the purpose for which it was created and alter the rules that govern it? Does it continue to convey meaning? This meaning will be new and unexpected? Or for the reader this will be meaningless, as an unknown language? My favorite painting techniques are oil paint on paper or canvas and graphite drawing. In general the work proceeds by sedimentation of successive layers, each layer adds something new, but at the same time covers something of the underlying layer. I have sold my works directly and on the net, as original unique handmade artworks (saatchiart.com, zatista.com, artfinder.com, etsy.com) or as posters and reproductions on other products such as T-shirts (redbubble.com, teepublic.com, cupick.com), dresses, pillows and bags (society6.com). I safely package my sold works by myself. They are never rolled but always packed flat. My artworks are put between two sheets of acid free paper with paper protection for the corners, than closed in a plastic envelope. The envelope is stiffen with a sheet of polystyrene, and the whole thing is completed with several layers of cardboard on both sides. In case of canvases the package is also protected with bubble packaging. In most of my paintings, both on paper or on canvas, usually my work proceeds with the sedimentation of several layers of pencil drawing or chiaroscuro and oil colors. Often the pencil drawing is repeated over the paint and then again another layer of oil color partially covers it. The final step is always a protecting transparent vernish.
