Pictorial work is undoubtedly at the very basis of my creative personality. The proof of this is that colours, their combination, their juxtaposition, their nuances, have provoked deep emotions in me since my childhood. At that time, after admiring for the umpteenth time the reproductions of the works Dance and Music by the French painter Henri Matisse, one day I was overwhelmed and thought to myself: “Why should I paint if the works I would have liked to create are already done?”
I forgot about all that until I travelled alone to Florence at the age of nineteen. I stayed in the Tuscan city for a month and a half, long enough to realise that beauty is an important part of the human sense of self-realisation.
The years have gone by and for some time I have abandoned by brushes, only to take them up again with more impetus, because art is part of me.
My early works as a student were figurative and reminiscent of my great childhood love, Matisse. However, the need to work with my subjectivity quickly led me to abstraction. Undoubtedly, this type of painting favours introspection. At the beginning I decided to set myself challenges, I even went so far as to renounce the vitality of colour in order to focus on the development of a more powerful internal structure of the works, in search of a language of my own. From that period there are works done with only three colours: white, graphite and flesh tone. As one critic has pointed out, at that time I painted by extracting part of the paint deposited on the canvas with the help of water. The work took shape before my eyes like a revelation, as if the image that was gradually materialising already existed, hidden under successive layers of colour. This voluntary renunciation did not last long, although the truth is that despite going back to the force of chromatics, something of that restraint has remained in some of my creations. Working with a not very extensive palette leads me to face the challenge of “doing more with less.”