Evolution of the gesture is an artwork to which I am particularly close.
It's an artwork that I learned to love over time, especially seeing the reactions of most of the spectators amused by it when they see it.
The parallel with the controversial work by Cattelan, which has been thoroughly discussed, especially in Milan, my city, appears obvious to many for the use of the middle finger at the viewer.
I don't know if the big hype that accompanied the installation of LOVE in Piazza Affari has been an advantage or a damage for my work.
It's been an advantage as it made much more direct to see the route between the Renaissance and contemporary art, which then was the theme of the competition; it's been a damage, as it could to some extent remove originality and spectacularity to my artwork by creating a sense of dejavù.
When I started working on this, several months before the exposure of the famous middle finger of Cattelan, I don't even remember if I ever heard about it.
I think that unconsciously more than consciously 'evolution of the gesture' is an homage to the Italian artist, which means that I clearly attribute him the role of symbol of contemporary art.
As Francesco Bonami wrote 'an artist must have the ability to take a good look around him and grasp the reality that surrounds him'.
And the reality today is not just houses, trees and people but also images: images of all types, from journalism to advertising to art.
So here I look Cattelan's work like Monet looked at water lilies.
There is a lot of preparatory work and study behind an artwork like this, which may appear at first sight a simple digital photo processing work.
I watched and studied carefully the Leonardo's 'San Giovanni Battista' before trying my hand in its modern interpretation. Carefully observing the light and shade, composition, lighting ... But one thing I mean in a clear and decisive way, saddened by the reaction of those few (thankfully) people who have seen my work, almost as an insult to the masterpiece of Leonardo.
I loved the St. John the Baptist from the very first time I had the fortune to admire it live.
Not always the great masterpieces of art history have provided me the excitement and the feeling I felt that December evening at Palazzo Marino.
I love the San Giovanni Battista hugely and unreserved.
Without having the ambition to upset the art world, I simply wanted to pay tribute, in my own way, somewhat clumsy but entirely personal, to an absolute and immortal masterpiece.
I hope I succeeded.