In my practice each work is born as a result of a research that, moving away from the only vision of an image, it focuses on the painting understood as a broader sensory experience.
I am interested in exploring the idea of materiality, physicality and tactility in a painting, investigating the tensions between the surface and the deepest levels it can contain, the relationship between full-empty, visible-invisible and absence-presence. Fundamental values in my practice are stratification and time.
My works begin by painting large sheets of Fabriano paper with a watery mixed media ink – iron powder, sand, silver powder, sometimes dust or plaster – in order to obtain monochromatic surfaces with textures and imperfections.
Then the paper is left to the wear and tear of time and natural agents, sun, wind, rain. This process transforms the material and makes it ruined, worn out, damaged.
This transformation is essential in my practice. I mean the wear and tear and the imperfections such as fragility but also resistance of the material over time.
At this point I tear or cut the paper into pieces to assemble it, in a balance and harmony of forms, in multilayered paintings which, evoking the idea of construction-deconstruction, hide or reveal the underlying structure. For emphasize the reference to the value of time and to the concept of a cyclical practice, I select and reuse remains of previous works that form the basis of each new work.
I find inspiration in the view of Buddhist philosophy that accepts the ephemeral nature of everything and that captures the beauty in imperfection and simplicity.