Since childhood, when I took to painting, the female body has been my main source of inspiration, and it still is the “fil rouge”, the metaphor and the symbol of everything I create, from paintings to short stories. My women started out as being represented in a realistic way; now they’re getting more and more surreal and able to tell a complete story or invite the viewer to invent one, influenced in this by the fascination for goth artists like Santerineross, Laurie Lipton, Shannon Hourigan.
I think my paintings reflect the separation between the rational and the irrational sides of my character: I depict bodies that are sensual, erotic, appealing but at the same time polished, flawless and cold; I indulge in decorative, moving, curvilinear patterns, but there is always an obsessive streak to them. I’ve always considered the women I paint as a mixture of amazon and geisha, aware of their beauty and coldly, sarcastically intentioned to leave the viewer to question himself on their mysteries, without giving clues or answers. They stare in your eyes just to defy you or, if you think they’re out to seduce you, the just mean to play or to exert their power.
I often let people “interpret” my paintings as they prefer, according to their own personal feelings; on the other hand, I make up stories while I’m painting, letting the hand freely draw what the brain suggests. Sometimes the input to begin a painting comes from a song that gets stuck into my head because of the lyrics or the tune, or from some poem I’ve read; generally, however, what I paint comes from personal experiences, feelings or fears: being rejected, losing love, inability to cope with grudge, regret and haunting memories from the past. Inner feelings and their dark side are maybe the main characteristics of my art.
Some people detect the influence of Klimt, but who really influenced me were Ertè, Tamara de Lempicka, the Preraphaelite painters, Liberty and Decò architecture, silent movies. The mixture of these elements has given birth to my attraction for anything that concerns theatricality, elegance and decadence, exterior perfection that hides and at the same time reveals the chaos just beneath the surface.
The use of acrylics is not casual, given they allow to obtain clean, intense lines and shiny, surreal colors. I often don’t dilute them and I lay pure color on the canvas taking it directly with the brush tip from the tube as if I were using crayons. I also love to use ink for my drawings, mixed with acrylics to highlight some details. With drawings I feel more free to let the hand wander free , as if I was writing automatically.