I live and work in Rome, Italy.
I have been working for a long time on the skin of the city, by using sheets of sand paper to pick up the colour and anything else from the wall surfaces which could restore a sign, a trace, an urban colour back. I have also made paintings by substraction, always using sandpaper, uncovering in this case thin layers of different and overlapping colours and hues, the last covering the previous one and so on, to come to a final image bringing to light all the previously veiled layering. With the passing of time the aggressive action of sandpapering has slowly shifted into the opposite: a great attention paid to the surface of sandpaper through very liquid sheer colour glazing, mostly royal blue. The relation being established between the two surfaces is very meaningful to me. I have often titled these works “Corpo” - Body – where body refers to the most visible and external part of the body, the skin. In my work there is a transcendent veil being placed at the same time between the inside and the outside, the infinitely big and the infinitely small. More recently I have made wax sculptures melting slowly. The figures covered by a shiny veil of white wax also hide some layers of colour inside. At the end of the melting process everything is brought to light, in such a way that the skin of the work is made of what was before its inner body.
On the idea of translucency and surface I can say that
- All art is just a veil, in some cases a metaphorical one, in other (as in my case) a tangible one.
- In the mystery of this veil, the role of translucency consists in reconciling the visible with the invisible, without the former prevailing over the latter and vice versa, so constantly relaunching the possibility of the gaze.