Digital Art

Making Digital Art is not easy.
The real one, I mean.

Not the one that uses effects at random.
Not the one that tries to imitate the Classic Arts.
Not that which is nothing more than the digital reproduction of a classical work.

The real one.

The one that, as in the assumption reported in the header, stands out for something aesthetically unique, inaccessible to other techniques.

I started to dedicate myself to a digital version of painting in the mid-90s. I was still studying painting at the Academy of Brera. I liked it very much and, learning the secular techniques, I had achieved more than dignified results. I had also developed a very personal figuration, the Positivized Biomorphic Space.
But I also wanted to do something newer, more original; innovative, as they say today.

I had already been fascinated by computer graphics for a long time, but it was only at that time that the necessary hardware and software began to be accessible to my pockets.
The approach was not the easiest: there was no culture to learn from, the Internet was still in its infancy and with very few resources on this topic compared to today. All I could do was try and try again and again until I got the desired results, although often the unexpected solutions were the most stimulating ones.

And it was the unpredictability of some functions of the graphic software that revealed to me that there might be something new. A new aesthetic, a digital stroke that no oil painter could have produced with the same spontaneity.

Con l’esperienza, la casualità divenne più prevedibile, così come lo è una pennellata grassa e fortemente gestuale. Più prendevo confidenza con gli strumenti, più le immagini si facevano vive e coerenti e, finalmente, originali.

Now I had my images, my digital works. But only in the computer.
As a painter I've always been fascinated by matter, and video is everything but matter.
So I began to study how to bring my creations back to the real world.

In short, digital printing.

Here too, time was running its course: in the beginning the printers and their media were only for photographs. Then, little by little, came the artistic papers, the metallic ones, the textured ones... Until the day when, to my great joy, printing was possible on every kind of material.

These new possibilities also influenced my conception of the work, which now had to be thought of not only as the manipulation of an image but also as part of a larger whole, combined with inks and media of a certain type to be able to render to the maximum.