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I have always thought that my painting was expressionist and German, intent on sounding the human being interiority, his less attractive and contradictory aspects.

I am not interested in seeking out an aesthetic, in the name of a decorative art, with his changing canons and rules.

I love bluntness and through painting I try to put it in practice and do it my flag.

The honesty, however, highlights the irregularities, the angularities, the harshnesses, the fragilities and our and world’s shadows.

Magic, in painting as in life, is being able to melt the opposites: lightness in weight, surface in depth.

Colour in my work is the predominant component and towards it I feel curiosity and astonishment and a natural propensity. I never execute a preparatory drawing on the canvas and I start at once with colour. Initially it’s the acrylic and afterwards I add the oil to give more emphasis and three-dimensionality to a detail. Sometimes I mix both, making them become a paste that  I spread with the spatula, the knife or the fingers.

The white, which I essentially use to ‘close’ a work,  is the most powerful  ‘not-colour’  and gives me the idea of a certainty.

Being affected by creating through colour, I try to control my stroke the less as I can, to give to the gesture in the painting matter a natural discomposure.