1987-1996
The works of this period have a primitivist imprint, first influenced by the fascination for African sculpture, cubism, expressionism and surrealism, then by Art Brut. Once this phase has reached maturity, the works are characterized by a sort of materic and mysterious naiveté.
Drawings
First works are expressionist drawings that also echo the work of cubo-surrealist authors such as Wifredo Lam. A more mature phase follows, recognizable by the economy of signs, the prevalent use of ink and a dreamy atmosphere.
Sculptures
The sculptures are consistent with the phases of the drawing and evolve in a short time from an expressionist and Afro-surrealist figurative matrix to a more simple and often abstract primitivism.
Paintings
The paintings of this period are all oil on canvas, distributing the colour with the palette knife on a surface previously prepared to obtain a rough skin. As a result of this technique, the surface becomes vibrant.
Prints
A short series of linocuts accompanies the phase of Afro-expressionist drawings. The chalcographic engravings instead all correspond to the later phase, influenced by surrealism and Art Brut.
1996-1998
The works of the years 1996 to 1998 become more abstract, although sometimes a figurative type of sign finds its way into the pieces. When it appears, figuration is either relegated to parts of the work, as in the sculpture, or barely recognizable, as in the drawings and some works on canvas.
Woods
Wood is always present in the sculptures from these years, whether being the only material used, or in a more discreet way. Very often metal is also employed, sometimes with rags and old hardware; in one case animal fur, in another resin.
Canvases
The canvases are generally works of completely abstract slant. A few jute canvases house vaguely figurative forms. These works are often arranged in triptychs or diptychs, juxtaposing different finishings, and sometimes colours.
Inks
These drawings are directly relatable to the wooden sculptures and installations. The black printing ink, applied by means of a palette knife, leaves space for the parts in light, generating a theatrical effect.
1999-2001
The works of these years are entirely painted and abstract. After making a series of works on board and with brush, I moved on to using the airbrush technique. This was first on cardboard, and then on a special type of kraft paper that is later transformed into plastic laminate.
Boards
The works on board are an evolution of the canvases. The material is different, whilst the painting technique and the colours are the same. The main novelty is the introduction of curved forms, at first subtle and later more wavy.
Cardboards
The works on cardboard open the short season of works made with airbrush. The colours remain basically the same as in the works on board, yet the shapes become more sinuous and varied.
Laminates
The works made in plastic laminate are all the result of a collaboration with Abet Laminati. I worked on sheets of kraft paper which were then transformed into plastic laminate, cut and mounted.
