I try not to recognize myself within the members of my guild, scared by the fear that without being enrolled in the first line of the new shocking art, they would be disregarded or forgotten. I want to confirm that I am not the result of a sensitivity blurred by the overwhelming assault of a reality under the tyranny of the image, which is in turn under the successive tyranny of taste and fashion always thirsty for novelty at all costs. In fact, I would like to confirm, to confirm myself that my meanings and my plastic choices, the selection of some living fragments of my surroundings and their artistic reconfiguration are not just the result of momentary preferences, but they are a thorough, sincere and totally unselfish choice.

My works are motivated by characters who configure a specific concrete world that scrambles through my critical eye. Starting from my priority preoccupations in the last years of study that have materialized around the interest in anthropomorphic psychological physiognomy, I think I can express myself in the closest coherent way through a series of portraits of character that articulate an expressive ensemble dominated by physiognomic values.

The need for portraiture is expressed in all possible forms. Because it is like a form of psychoanalysis.
People always say, “How do you see me?”
The portrait always hides the desire to be anything other than you are. So, for an artist it’s very hard to meet a pattern.
The most beautiful expression of human thoughts is art, I do not think it is necessary to explain that I find myself here best.

The essence of my approach lies precisely in this interdependence, between the real, concrete world, and the vision of the art virtuality that I am trying to understand. The impression of realism, almost aggressive, naturalistic, comes precisely from the conflict that develops every time in the images between perception and real, their virtuality being subject only to the rigours of the pictorial support.

I want to fill the anthropomorphic forms of content by revealing them without stylistic prejudices of the human, so namely of the HUMAN NATURE, beyond which I consider the human form to be emptied of the essential sense with which nature or God has endowed the material body with spirit.

When you make a portrait of someone, if you get it out right, it means you caught some part of that person. And the most interesting thing is that from a portrait, instead of finding out about the personality of the person who was the model, we find out more about the artist’s personality. Because you always put the most out of yourself.

I believe that the motivation of figurative painting will remain present in the act of creation regardless of the historical moment it proposes. I wish to be understood in this way, without the prejudices favouring contemporary art.

In fact, the contemporaneity of my pictorial act is precisely the fact that I am producing it simultaneously with my existence. I want to represent the image of “human nature” as it exists in my own possession of my being.