Tell us about yourself and your work.
I’ve started painting with oil when I was really young and now I’m going back to my roots: I’m working on the idea of an “organic painting” strongly related to the feeling of openness, which is typical of the sea landscape of my place of origin.
Concerning my education, I formed myself firstly in rome and then in berlin.
In 1994 I co-founded in rome the art group “Grupposangiorgio”, which was interested in a multisensorial approach to art and in using different media like painting, projection, olfactory stimulation, installation and performance.
Since 2000 I focused mainly on painting and I decided to move to berlin as in Italy painting was, at that time, perceived as a media of the past. I lived in Berlin for the last fourteen years and this city has influenced me deeply. Perhaps if I need to summarize my conception of the figure I would say that it is informed by a dialectic between closeness and openness; on one hand the rigor of the “neue sachlichkeit”, and on the other hand the lightness of the sixties’s pop design. This strange mix of forms and feelings, experienced in the vastness typical of berlin, acted on me like a promise able to open new ways.
Now I’m based in Leipzig, a calmer city, which is helping me to develop my work with painting further.
Where does the inspiration come from?
I need to dare myself, to do always something new. This is what excites me and gives me energy.
Which is the need of your art?
I want to realize something living, a kind of artificial organism. I don’t trust literally what I see, since I believe that what we see is only a small part of a much more complex reality. I’m not saying that what is tangible is not important, rather that – I am interested in both the appearances and in what lies underneath it, down into the deep – and that’s why I am interested in paintings that make visible those different dimensions of reality.
For this reason, in my last series (ARRAY and MAPPING) I never used shadows, “plastical” effects or illusion of deepness; at this stage the imitation of bare appearence would be more a deviation than an improvement for me.
Another important aspect is the dynamic between what I know and what I ignore: this tension helps me a lot in developing my work. Finally, I would say that I am a realist: in the sense that I try to capture reality rather than copying it.
Tell us about your experiences in art fairs, exhibitions and others.
I’m coming from the underground art scene. Firstly in Rome with the “Grupposangiorgio“, than in Berlin with several experimental galleries I had the opportunity to meet special people with whom it was possible to realize and show radical existential art, almost independently from the trendy art scene.
Now I’m changing my approch: even if my art is more radical than before, I’m connecting myself with the commercial art world, engaging with different kind of experiences from before, and these are challenging my work in a new way.
What does it mean art for you?
To give back to the human being something human by using the most artificial vocabulary available.
What do you think about the art system in your country?
It’s a mirrow of the dominating culture. It’s a tool for building the icons we believe we need. In other words the art system nourishes the creations that are considered “seleable“ and then by implication “acceptable”.
What is the future of art?
Even if an artwork contains only the means of the time in which it was created, I believe that real art is prophetic: it speaks of a future time, we know nothing about.