Aktualisiert: Apr 15
You speak of the surface of the canvas as if it were only a moment of transition of the image, in perennial movement, so much so that you often combine painting and video (painting, in this case, would be like a frame from a cinematographic film). Do you want to tell us about this state of the continuous metamorphosis of the image? Is there a landing place for the image?
My pictorial method starts from an initial idea that develops on the canvas and takes shape during the work. My interest often dwelt on the transition phases, halfway between what has already been achieved and what the image suggests and somehow foretells. Hence my desire to immortalize the various phases of change, even the moment of indecision and error. What interests me most is the path rather than the goal. This led me to document the different phases, and so my work developed and completed itself through photography and video. A final image inevitably exists, but I always try to emphasize the various stages that precede it.
The figures are evanescent and you are interested in crystallizing something that cannot be grasped... what attracts you to this fluid state?
I am fascinated by the idea that an individual and his thoughts are part of a complex reality that intersects with other things, changes and evolves.
The evanescent figures are maybe the fruits of the uncertainty that distinguishes our times.
Which readings, visual, sound or cinematographic works have influenced or are influencing your work?
Lately, I often lose myself on Murakami's readings, his scenarios and waiting times, the idea of suspension of time and alteration of memory; but I have always had a keen interest in Francis Bacon's existentialist works and David Lynch's dreamlike atmospheres.
How are you experiencing this difficult time of the pandemic?
Is your work moving forward or do you feel held back and disheartened (due to a lack of contacts and resources)?
Such as many people, I think, I found myself managing my time by turning my attention, focusing on work and trying to pick up some forgotten project.
Your palette counts on very vivid colours, shades of a virulent red but also blues, greens, violets… why this choice?
I have always used painting in a very material and exuberant way. Often these intense colours accentuate the expressiveness that I want to restore on the canvas and, at the same time, create a texture in which new forms can be perceived.
The figures that animate your dream, or nightmare, scenarios seem faceless or portrayed from behind. In this series for FMB Art Gallery, they are completely absent ... can you tell us this fact?
To represent my figures I often draw inspiration from memory. As often happens in memory, the images do not appear clear and defined but simply leave us a sensation. You can perceive an impression printed in the mind that seem lost over time: you try to reconstruct the impression and, sometimes, you completely invent it.
In the series presented for FMB Art Gallery, entitled "Rêverie", I wanted to represent precisely this state of abandonment to the imagination. Reveries often lead us to forget about ourselves, like if we are suspended, until the point of getting lost in the flow of images. Behind us, we find just environments and landscapes that testify to our passage.
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