Abstract painting | Artworks Painting Introduction page

Abstract painting as a search for origins.

Painting for me is a journey into oneself. I started painting when I was a teenager and then I alternated this activity with sculpture, drawing, and other artistic practices. When I started, I immediately immerse myself in the color. Having made the discovery of Kandinsky's "The spiritual in art", my direction was that of abstract art. I was fascinated by his paintings and Russian and Eastern culture. Over the years, especially during the years of study at the Academy, I have had many experiences and my approach to painting has had several transformations. Nowadays for me to paint, it is a return to the origins in a certain sense because my research address is mainly in the field of abstract art.

Painting as a search for a de-semantization of the sign.

I recently discovered the South Korean artist Lee Ungno. Teacher at the Oriental Academy of Paris founded in 1964, where artistic personalities such as Hans Hartung, Pierre Soulages, and the Asian artists Zhang Daqian, Zao Wou-ki, Fuhita Tsuguharu, Zhou Lin, practiced an ink painting in which he combined western art with its tradition. Painting mainly abstract but with frequent digressions in the themes of the oriental tradition: the representation of Bamboo as a representation of the literate, the theme of the landscape, the animals, and much more. The works that struck me most were those on ideograms. The ideogram or calligram (even if it is not the same concept) in oriental culture is the synthesis between the level of meaning and visual image. An ideogram is not like a letter from our alphabet, it means something more. This is something else that interests me, because it concentrates the very meaning of art. Through the creation of these ideograms that have no meaning, de-semantized, we can reach a maximum abstraction of the forms. It's like getting to the bottom of an abyss where the shapes and the words lose their meaning and so you get to perceive the sound and the primordial shape of the Universe.

See not through the eyes but with the heart.

A part of my artistic research revolves around the themes of energy, noise and change. I started from sculpture to create organic shapes with fluid contours with plywood and other materials. I drew these shapes directly on the plywood as if it were a painting, cut them out and then assembled them in different ways. This activity begins almost exclusively as a sculptural practice. I did not realize that they could work very well even simply as drawings or paintings. Thus were born the first designs of this type and later, of the paintings. These forms are the representations of states of energy, parts of our being that we are not able to portray except through abstractions that are constantly changing. They can be seen not through our physical eyes but it is easier to see them through the "heart", the dream. Murakami in the novel "Until the end of the world" entrusts the protagonist, who is becoming blind, the task of scrutinizing the dreams of others. Here, I think a painter should do just that: scrutinize their dreams and those of others and make them visible. Strange as it may seem, a form can reveal more than a thousand words, and a poem can say more than a rhetorical discourse.

The fantastic that lies behind things.

A stain on a wall for our imagination can become a horse, or a cloud in the sky and who knows what else ... I try with the simplest form to suggest the most fantastic forms. For this reason I like medieval art, heraldry, mannerist artists, surrealism and all those who are able to see beyond things.

In this space dedicated to painting you will find a selection of my paintings that were made in a period from 2001 to today. The techniques used range from oil painting to acrylics. A good part of the most recent paintings are interactive works, provided with devices for augmented reality, for further information on this page.