I’m trying to explore my inner landscapes through hypnosis and meditation, and the result is therapeutic. Dark tones predominated over colours, but only because I paint at night.

Reflections on the pandemic

The vision of the caterpillar, 75×120, Acrylic on canvas, London, 2021 – I was wondering what the caterpillar feels in its cocoon. Does he suffer? Is he choking? Is he sad? Does he think about death? Is he bored? What does he see? Does he smell? Does he know beauty? He can’t imagine that one day he will fly free over the flowers, but he’s capable to perceive the blue of the sky.

Misty / Mystical Giudecca, 100×80, Acrylic on canvas, 2019 – Giudecca is a Venetian Island. In ancient times, It was the island of gardens and orchards, and factories and shipyards in the early 20th century. Beloved by Jean Paul Sartre, It’s a special island, with special people, and an incredible light that goes from grey to blue to the fiery red of its sunsets. At night, you can hear only the sound of your steps and the water. And in its foggy days, when you cross the canal from the Zattere by boat, or when it’s submerged by high water, sometimes disappears. You know it’s there, but you don’t know where. It is mystical and foggy. It was my home for a long time, and I have special memories about that time. Even if I don’t like to indulge in memories, they produce a sense of strange nausea and estrangement that I can no longer tolerate. My coping mechanism is probably to live here and now, but the traces of the past occasionally come to the surface, like my Giudecca, from water and fog.

Eastlake Studio, SR Photo, 2020

Hug me, 60×80, Acrylic on canvas, London, 2020 – I was trying to represent the emotional nuances of the warmth of a hug, at a time when touch became distant.

Eastlake Studio, SR Photo, 2020

The only thing I want to do is turn pain into beauty, 50x80cm, Acrylic on canvas, London, 2020 – I collected all my tears and spread them on the canvas, they have become as white as clouds. Crying is useful… “It’s easy to see only white where colour should be…”

My Enchanted Garden, 70×100, Acrylic on canvas, London, 2019 – I knew that geometry would not last long, colour has triumphed. There ‘s always this underlying tension between my recklessness and imposing limits to figures, but I still have so much energy, impossible to contain. Painting is such an amazing workout for my mind.

Rain is recurring theme: it reminds me of tears, of a transitory sadness or a fresh purification.

Raining, 100x70cm, Acrylic on canvas, Glasgow, 2017 –  I like imperceptible things, you know there is something under the fog, but it could be anything. For those who are mountain climbers, I try to represent the precise moment before you reach the top, when your senses are blocked and confused by the high altitudes.

Raining, 70x100cm, Acrylic on canvas, London, 2017

Night, 40x50cm, Acrylic on canvas, London, 2019 – All the people who know me know that I love the night, I find it reserved and silent. I did this picture after nights spent on the shores of Loch Lomond, a completely dark Scottish lake, without stars. An interesting anecdote: the verb to desire comes from the Latin de-sider (longing), a term that sailors used in the absence of stars, practically it means to have nostalgia for the stars … I feel like this … and you how do you feel?

Horizon, Installation, Collage, Photo & Acrylic on paper, London, 2015 – This series of works, in mixed media, started in 2015, for an exhibition in London, then brought to Glasgow in 2016. Generally, I start from a familiar place that I love. The memory of the place with its horizon becomes the elaboration of new realities, creating unexpected worlds and perspectives. My main interest is the perception of the changing truth: the relationship with Rorschach test is clear, but my focus is the creative process from a psychological and alchemical point of view.

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