There is more to be
seen than what meets the eye
It is not easy to induce feelings of doubt and hope that have
the ability to transcend the mere reality of things: you have to
believe that a deeper meaning exist, in what you are watching
and that is worth discovering albeit partially.
And it is certainly not an easy task to overcome the hasty
judgments or the fear of the unexpected, to challenge them to
face an experience that is going to require focus and commitment,
that is to say, an experience that forces the observers to take
the responsibility for their own interpretation of an apparently
innocuous object and to face the unknown, for only curiosity is
the way to knowledge.
This is the challenge I am willing to take, to tap into the
world of ideas – keepers of the invisible - and go beyond
appearances to discover what is hidden to the eye.
I constantly tried to use an original yet recognizable style,
whose main trait was creating a three-dimensional portrait of
the misery of human condition.
Geometrical shapes are not only a way to depict reality but are
also the ‘things’ that add value to a picture.
The use of geometrical shapes provides the observer with a
choice of different perspectives – both physical and
metaphysical ones - thus leading to a plurality of visions
concerning the idea of art.
I build my paintings in such a way so that potentially every
element in them seems not to have yet fully settled,
subconsciously inducing the observers to copy the - tying,
squeezing, expanding – motions that lead to the creation of the
piece of art.
I firmly believe that our personal perception of the world is
the result of multisensory experiences and that movement is what
they stem from.
Therefore I believe that motion – virtually perceived if not
directly experienced – is able to communicate the inner workings
and labor of the mind of the artist.
The attentive examination of the painting might provide the
observers with clues that, once rearranged into personal
interpretation, will lead to an understanding of one of the
meaning of the art piece. A semblance of meaning will then
emerge from the shadows, provided that the observer is willing
to go beyond standard explanations in order to get to a deep
The habit of critical observation and interpretation seeking
improves the ability of the observers to see beyond what is
right in front of them and to explore new meanings of reality,
thus avoiding platitudes.
Knots, partly due to their complex psychological and symbolical
meanings, are the most suitable objects to alter the flat
surface of paintings. Knots transform thoughts into a
three-dimensional experience in which matter and time – the time
required to tie them – are permanently linked, thus leading to
the perception of controlled chaos and motion.
There is more to knots than the mere combination of simple
shapes: they appear as redundant bulk on the flat surface thus
forcing the observers to continuously change their viewpoint to
grasp all of their meanings.
The paintings seem to submit to an odd gravity that forces their
insides out, as to unveil some sort of hidden ‘mathematical
Sensorial perception mixes with unbounded imagination,
overcoming the fear of the unexpected.
The tying of a knot means a distortion of matter and
subsequently warps the surrounding space, molds it, transforming
its Euclidean geometry into a hyperbolic or elliptic one. The
flat surface of the painting is no longer a constraint but a
depiction of a lack of separation between the visible and
invisible world, between sacred and profane reality.
There are, however, among my masterpieces, those whose subjects
show my social awareness, and that is to vary the complexity
level of my art pieces also including more common and widespread
I try to encourage passive viewers to use a critical approach to
my art by means of evocative, ambiguous and bewildering pictures
and to experience a form of beauty that has no rational
I resort to a contrived deception, provocatively combining the
real object (the painting) with a title that is a reflection of
my personal experience - without there being any semantic
relationship between them.
The path to the understanding of the picture is full of hidden
dangers and uncertainties, and requires for the observers to
transcend the boundary of words, to wander between certainty and
doubt. The narrative effectiveness of knots has to face those
doubts and with the shadows that reign over our lives.
My art poses a challenge for the mind that is forced to reason
on contrasting assumptions and tries to take hold on a
consistent central idea.
If the observers then choose to ‘play along’ they become part of
the masterpiece completing it; by looking at what is visible
they will understand the hidden and improbable meaning of it, in
a continuous process for reality is always changing.
The paintings become untold stories, a place of the mind that
creates its own language: the invisible turns the pictures into
the bearers of unexpected meanings, deceiving not only the
physical eye but also the mind’s own.