painter
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In art, I express the diversity of my experiences and the contexts that have left a trace on me. I express my frantic search for synthesis, the need to overcome polarities, such as emptiness and fullness, nature and culture, individual and environment, self and community, mind and body, spirit and matter. I express the need to feel, perceive, and portray one's human existential condition through art that uses the image of a body. Our body is the first “great stranger”: it is simultaneously social and the natural body of Gaia, the name given by the ancient Greeks to Earth.
My brush strokes blend the human body with the surroundings, meshing the inner turbulences with the landscapes in an attempt to resolve the conflict of the dualities.
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My artistic research portrays a dialogue between internal and external worlds, where originality is given by bringing together harmony and signification to respond to one's interior need.
"Art moved by a profoundly interior need," Kandjinsky said in the search for a universal inner symbolism that allows us to go beyond the appearances of reality, the idols of materialism and rationalism, to "speak of mystery through mystery". Art as an activator of a power of the unconscious that comes to man and woman as the metaphysical painters showed, through intuition and the analogical language of free associations. It expresses our own way, specific and unique, to be in the world towards the truth of a more authentic and profound self, unmasking and "playing" with the egoic dimensions of the Person.
Art seen as genesis, creation, not as a return to primitive, to pre-verbal, to undifferentiation, but as going further, passing and using experience to integrate immanence and transcendence, bringing assimilation of the opposites. Its derivative is the symbol, rather than the "symptom", that is the reconciliation of the dualities. Duality as the principle of existence, which in art is understood as complementary rather than as dichotomies, antagonistic and conflicting forces.
Art is a process that is embodied in imaginative products which are in themselves images but are already actions. In my opinion, the product and the process go hand in hand: I attribute importance to the quality of the experience, in many cases, curative of the artistic process but also to the quality and aesthetics of the resulting product.
Therefore, art is not only an instrument, but a drive, a daemon that manifests itself in the need for alchemical transformation of the being, learning from experience and regeneration of the world as it is seen, perceived and created by the artist. Art does not need utilitarian reasons to be, because it is in itself revelation and evolution of human potential.
Art also means to me a space of participation in which the spectator is involved. It cannot be a truly transformative process if it does not have the potential for identification and projection of the one to whom it is addressed. In other words, art is a two-way communication where there is space left for the wandering, the imagination and the feelings of the spectator.
So too conceptual an art abstracts and moves away from its audience, enclosing itself in a speculative action of the rational mind which does not leave space and air for an intimate dialogue, necessary for transformation. In the same way an art very technically packaged but easily intelligible to its spectators, can be too immediate and saturate every space of imagination of those experiencing it.
In sum, art can be seen as a continuous research of synthesis and harmonic evolution of experiences where every true artist is in itself a researcher, and only a true researcher is an artist.
