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Inspiration
I come from a place where art has been always seen as expression of beauty through a manneristic, perfect gesture. But I've been touched by pointillism first and then profoundly impressed by aboriginal dots painting for the fact that it all comes out from a single, "insignificant" dot of colour.
My artistic means of expression is The DOT. Acrilyc dots, the multitude of coloured dots makes the painting.
My artistic means of expression is The DOT. Acrilyc dots, the multitude of coloured dots makes the painting.
My method
I use canvas and acrylic colours for my works, some early works were oil on canvas. This is "dot-art" because all the lines and circles and everything else you see is made of coloured acrylic dots. I never use any instrument to make the circles. They get self-created and follow the movement of my right shoulder, arm and finally, the hand that holds the stick.
Yes, I use a stick to dot my canvas. And this work takes a lot of time, weeks and sometimes months. Many of the dots change their colour while I create and recreate the painting – I constantly change my mind and the colour scheme of the canvas is gradually modified throughout the work.
Yes, I use a stick to dot my canvas. And this work takes a lot of time, weeks and sometimes months. Many of the dots change their colour while I create and recreate the painting – I constantly change my mind and the colour scheme of the canvas is gradually modified throughout the work.
The making of the canvas is based on the repeated movements of colour-dotting on the usually dark background.
I use just a couple of brushes for the background. And then, when it dries up, the real work starts. Short, precise, eternally repeated movements: the stick is first put in the cap with the colour and then I start
dotting and re-dotting. It's a very physical work in the end as the fingers start to hurt holding the stick.
And then I take a break…
Repeating the same gestures for hours, often in silence, is like entering in a "trance" state of mind, that I don't necessarily look for, but to make these paintings it seems fundamental to be out of this world.
And in this specific isolation I am productive in my very particular way.
I use just a couple of brushes for the background. And then, when it dries up, the real work starts. Short, precise, eternally repeated movements: the stick is first put in the cap with the colour and then I start
dotting and re-dotting. It's a very physical work in the end as the fingers start to hurt holding the stick.
And then I take a break…
Repeating the same gestures for hours, often in silence, is like entering in a "trance" state of mind, that I don't necessarily look for, but to make these paintings it seems fundamental to be out of this world.
And in this specific isolation I am productive in my very particular way.
Biography
I was born in foggy Milan in 1973 and spent my childhood there. Apart from summers; I used to spend the holidays in the mountains at my grandparents house.
When I was 14 the family decided to "come back to the roots" (even though "people aren't trees, so it is false when they speak of roots"). We returned to Abruzzo in Central Italy:
the region where the bears live free in the mountains. Since then I've been living in Pescara, a city on the Adriatic sea. The best part of the area around Pescara are the pebble wild beaches to the south and the Mother Maiella mountain chain. These two essential types of scenery around Pescara give me a sense of living close to the fonts of powerful natural beauty and energy. These are the environments that let you in their static setting and when you leave you bring home their breath.
I started dotting after my first visit to Australia in 2002. I was inspired by the aboriginal painting, by the ancestral laconic technique. In my paintings the dot is the minimum measure, an atom of colour that creates multitudes.
I sympathize the First Australians, but consider my work completely autonomous, we only share our love for acrylic colours and putting dots here and there. The dots are our stylistic code, the figure of speech, the basic element, but we do speak different languages and tell different stories.
My paintings are the maps of internal worlds, emotions, feelings, mindfields, fantasies, structures and are open to your interpretation and vision.
When I was 14 the family decided to "come back to the roots" (even though "people aren't trees, so it is false when they speak of roots"). We returned to Abruzzo in Central Italy:
the region where the bears live free in the mountains. Since then I've been living in Pescara, a city on the Adriatic sea. The best part of the area around Pescara are the pebble wild beaches to the south and the Mother Maiella mountain chain. These two essential types of scenery around Pescara give me a sense of living close to the fonts of powerful natural beauty and energy. These are the environments that let you in their static setting and when you leave you bring home their breath.
I started dotting after my first visit to Australia in 2002. I was inspired by the aboriginal painting, by the ancestral laconic technique. In my paintings the dot is the minimum measure, an atom of colour that creates multitudes.
I sympathize the First Australians, but consider my work completely autonomous, we only share our love for acrylic colours and putting dots here and there. The dots are our stylistic code, the figure of speech, the basic element, but we do speak different languages and tell different stories.
My paintings are the maps of internal worlds, emotions, feelings, mindfields, fantasies, structures and are open to your interpretation and vision.
