...Then he worked with
adhesive tapes for “PAESAGGI ORGANIZZATI” and, at the same
time, with PVC for “AC-CETTATI CON ONERE” (1974). Then the
artist created “SUNSETS” (1974-75).
From 1975 to 1977 “PAROLE INUTILI”. While from 1977 to 1980
“TERRE BRUCIATE” that was born from the tension of incompatible
materials (like incompatible is the existential reality).
“SE-DIAMO” is a study of the Kafka’s metaphor about
the places where we sit. It is about chairs full of stories with a personal
“UNA LACRIMA DI GHIACCIO” is a book of poetry and long journeys
In 1998 he worked with the “golden leaf” that covered all
like an extreme sign of a statistic culture: this was the period of “ORO
PARADIGMA E METAFORA ALLE SOGLIE DEL TERZO MILLENNIO”.
He currently works with gun-powder. The series, called “CON-DOMINIO”,
is the development of paintings already done in 1975 as studies. The artist
uses this material that determined the first contamination of the contemporary
age. The master uses coal, sulphur, saltpetre, on already painted canvas,
to better show off a philosophical configuration about the pre-existing.
The gun-powder, - that was discovered in China where it was used, in primis,
as a cosmetic – demonstrates all its “aesthetical –
contaminating” ability through burns and violence that show total
From the definition of contemporary age (1492) entire civilizations disappeared
under its tragic sign that models everything and the “owners”
of this material have always been upset by the existence (also if this
material is used alone) and by dramatic leaders.
At first sight, the events provoked by the gun-powder are constantly proposed
through more and more accelerated reiterations that empty each drama of
meaning and sign.
All is sent again to an infinite drift of chat full of rhetoric, and,
all this, naturally, in comfortable armchairs that are located, carefully
far from the development of drama…what a comfort!
The artist says: “Elias Canetti was right in telling that pain is
felt only by those persons that touch it directly”.
So, the conquest of the conscience is not a questioning but a dimension.
The dimension needs concreteness of action, of shape, of gestures because
defines the essence of things.
The dimension presents itself and shows itself and its reality. To show
something is not the same to represent something.
The artist means all this with his works, given that he wants to call
the reality where we live in an indifferent way and, above all, where
we involve tragically our future.
With a high probability, there will be facts that will never occupy spaces
like those of a picture that shows something that, unfortunately, will
belong to an area without response.
Now his paintings impose to watch inside, to investigate among burns,
because, like this, they will be more internal and more intimate.
The purpose is to go into the inner part of things, to look again for
them, both like place both like spiritual topos.
All this to appropriate a new but also old ethics.