My work develops starting from the primary expressive elements: line and color. It ideally continues the lineage and experience of painting that goes from Rothko to Pollock, from Jasper Johns to Brice Marden and is unrelated to Minimalism and the obliteration of form that occurred in the sixties.
Based on these essential elements, I proceed through a process of constructing relationships. These relationships eventually form an image capable of continuously activating our perception, induced by sensations generated by the vision of the image produced.
If the beauty in the classical was defined as unity, proportion (measure) and efficient clarity (relationships that are directly sensations – for example classical Greek sculptures), now there is a need of new criteria that include the antique relationships of the beautiful, yet renew the category.
Therefore: to remain in relationship with the painting through the gaze signifies experiencing the search of the stable relationships within what one sees.
(a gaze from afar involves the mind, yet at the same time, although we are unaware of it, it involves the body too, since it is a sensation)
Lines end colors constitute these finite relationships; yet they are continually new to the sight reflecting a new measure. In this new measure of relationship between image and scheme of the brain, we can establish the beautiful.
The category of beautiful can thus find a base, after the parenthesis of the romantic sublime, with its infinite indefiniteness and the related indifference of form in Duchampian sense.
The beautiful requires a form that relates to the individual through a connection that does not weaken but rather thickens, enriches and conquers our attention.
The beautiful, therefore, as a form that continuously responds, based of a contemporary humanism that is open to infinite possibilities, but with measure as it’s essence.
The choice of the connection with the work is for a relationship “at distance”, apollonian.
We could say that the work pursues an internal logic and dynamics of painting based on an unpredictable grid, structured on minimal color variations, with the scope of stimulating a series of sensations susceptible to incessant, unexpected and variable perceptive adjustments.
The work thus relates, in it’s concrete plasticity, directly with the abstract schemes of our brain.
It’s richness of form and color relates to our sensation following a new proposition for the beautiful.