The path of an artist is unpredictable.
There are those who chase a feeling or a vision all their life, trying to express it at its best.
There are those who pursue mastery in a certain technique, refining skills and instruments to infinity.
All the three things happen to me.
I had the "luck" to live the great transition, the one in which digital tools appeared: computers, software and printers.
So, after years spent with brushes and tubes (but also many other materials), in the mid-90s I started to look for a new and aesthetically valid way to make art in digital too. A research that is partly illustrated in my degree thesis Digital Art Chapter One and culminated in the publication of the Amplified Digital Art Figurative Manifesto.
Classical and digital are two different ways of acting, thinking and representing, two worlds between which I have always tried to maintain a connection, at least ethical.
Of the first phase remain some testimonies, the series Red Puddings and Blue Mothers and Positivized Biomorphic Space.
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These are oil paintings and mixed techniques with paints, varnishes and appliques made on paper, canvas and wood.
The second is composed of several research phases.
With the first, Homo Sapiens Marsupialis, I tackled the photo editing.
Afterwards, with Dee, I experienced every kind of image manipulation.
And then Mask, portraits created entirely by computer; Poppart, dedicated to a precise anatomical part; and finally Nochart, sui generis abstractionism that exploits pareidolia. These digital works are printed on fine papers, wood, glass, aluminum, canvas and many other materials.
So we come to close the circle.
The adoption of different printing techniques and the formal research influenced by graphics lead me to the creation of simpler and easier to read works.
I enter the world of Applied Art, creating customized interventions on furniture, fabrics, objects and entire environments, developing an eclectic and versatile mosaic style that I called Ch'Art.
