Think, believe, dream and dare
The concrete possibility of being able to realize a dream is a certainty that has always accompanied my life and guided my choices. I overcame difficult moments, situations and problems that seemed insurmountable to me, but I can say that I lived all my adventures to the fullest, with passion and tenacity. I can fix almost everything, I like to invent, but I never expected that the continuous discovery of materials and techniques for building things would have led me to art, a world almost completely unknown and far from the image that others have of me. And yet here I am ... submerged by paintings of various styles and pictorial currents in search of the right visibility for what today I can define my art. I faithfully reproduce and play with the masterpieces of the greatest authors of modern and contemporary art such as MATISSE, PICASSO, KANDISKY MONDRIAN, FISCHINGER, MIRO ’, LICHTENSTEIN, EL LISSITZKY, HARING DELANUAIS.
I work as an artist because I feel the need to express myself in an unconventional way. I like to go out of the ordinary and transform what I have around with my art. Have you ever wondered about how blind people can imagine a work of pictorial art? How do they perceive the dimensions, shapes and colors? These questions have accompanied my artistic elaborations, greatly expanding the potential of my polystyrene paintings. Feeling the painting with your hands is simple because the works are presented in a 3D form, placed on supports at different heights to let people with different disabilities experience the tactile experience and allow them to discover, touching with their hands, a two-dimensional work through the sense of touch. However, these are not works reserved exclusively for a blind public. Everyone can augment the traditional visual experience by combining it with the tactile one. Feeling a painting with your hands means offering everyone - and not just the blind public - an experience of progressive approach to figurative art through tactile perception. Touching what is usually entrusted to the privileged perception of sight is a challenge that I wanted to take up and that led me to enter a wonderful world. Not being able to look with the eyes requires an imagination effort, an abstraction from the superordinate reality that viewers are used to perceive every day. Giving the possibility to explore a work of art with their hands for a blind person is a unique and unrepeatable experience. It is also the concrete possibility of realizing a dream, my dream.
I hope that my work can improve the fruition and perception of a painting: objects, lines, shapes and colors can be broken down and recomposed in new ways, translated on two-dimensional planes, shown on plastic surfaces that allow to create the idea of depth and thickness thanks to the juxtaposition of different objects or portions of space. In this way a painting can be not only perceived and imagined, but even "touched by hand."
Everything is made out of extruded polystyrene plates, cut with a heated iron wire, painted with acrylic colors and glued on canvas. Extruded polystyrene is usually a material used in construction for the thermal insulation of buildings, but it is a very versatile surface to be used as a canvas. Obviously the characteristics of the surface and the chemical composition of the polystyrene eventually affect the choice of the subjects to be reproduced, since only water colors can be used and it is not possible to achieve any type of shade.
Almost all my creations revisit modern and contemporary works. The lack of perspective and chiaroscuro, the absence of three-dimensionality, the definite shapes, the sharp and often marked contours of the portions of space that make up the surface of a painting, are the ideal starting point for the realization of one of my works in polystyrene. This particular type of material, so versatile but, at the same time, not very flexible, gives me the possibility to revisit Keit Haring's works, those linked to the last decade of Henry Matisse's life, a large part of those by Pablo Picasso, Joan Mirò and Piet Mondrian.
I'm expressing my mood. The emotions I feel from the moment I get an idea to the moment it comes about.
The choice of the material and the subject are the consequence of what I have inside.
Taking an "old" idea out of the drawer and realizing it over time demonstrates how the present determines what we have inside.
I struggle to define my work as "work," I prefer the word "emotion."
I've never done anything thinking about what people will say...
I merely hope to be able to convey emotions, curiosity and... one day, in front of one of my works, to be able to tell someone all the emotions that made me realize it.
Every work comes with its history and moment.
There is no link between an emotion and the next, only a subtle thread that represents my inner path joins them.
I feel alive when I have an idea, I feel happy while I realize it, and in peace when I'm done with it.
