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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 understanding.

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 truth’.

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 themes.

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 constraints.
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.