23 January 2019

The Mystery of my finishing strokes

The mystery of my finishing stroke.
Upon my paintings in uppermost level you see a vertical brushstroke, a final touch as a calligraphy within an imaginary layer. These lines are thin and their length varies, seldom going from the upper to the lower edge, always out of a central position.
This sign is fruit of an independent colour research-choice and can be in dissonance with the general tonality of the work.

Many viewers ask: “ What is this line? What does it represent? Why it is there? This line could be seen as a personal seal, a method to proclaim my unicity. It stresses the
asymmetry of the composition that I have cared as long I remember painting.
For some inexplicable need at all times I cannot avoid dreaming my future work. Later in the actual making one transforms the empty surface by trials and errors and could go on inexhaustible. In a third mysterious minute the work cries out: “Basta! Stop it, do not touch it more!”.
In that point I experience both that the work is “myself” and that it has acquired an independent life. So then I put my signature and give it a name, its title, a child that deserves a name. And on this moment of acknowledgement of parenthood I draw my special stroke, that also means that I will respect the work’s integrity.

Night in death valley canvas 100 x 72 mix


Lumière au passé VII 2018 Canvas mixed 40 x 50 cm

03 July 2017



Are multicolor paintings more artistic than monochromes?
Sculptors have abandoned colors since ancient times.The creativity in forms of architectural and design beauty do not need colors.
One feels a uniformly monochrome object too simple. Are single color surfaces with rough textures to be considered more expressive? Since the end of figurative paintings, famous examples of monochrome paintings were produced as Malevitch’s “White on white”, Richard Serra’s giant black encaustics, Y. Kleins blues, the “Achromes” of P. Manzoni,  the cuttings of Fontana and many others.
Is monochrome painting a kind of rebellion against classic style where painters searched a balance between “hot” and “cold” colors? Or a way to stress non-figurative nature of one’s painting?
Putting complementary or strongly contrasting pigments in one work can be perceived as drama expression, but we often associate strong emotions  with one tint.

I call monochromes my works with a dominance of one color and its near variations. I call these experiments “monochromes”, even when in them one sees well some “secondary” nuances within the same pigment family or small touches and strokes in contrasting pigments.

In my  production there are monochrome groups of “whites” (W), “grays” (G), “reds” (R), “blacks” (B), “yellows” (Y), “skin-colors” (Sk) and “texture” (T).


B 2012 Souvenir de ténèbres - Recalling dusks canvas 40 x 30

B 2015 Des noirs à broyer cardboard 20 X 20

B  2012 Blind's night canvas 10 x 10

G 2011 The rough past canvas 56x70

G 2017 Il Lete è un fiume tranquillo canvas 45 x 45

G  2016 Hm!! Silenzio significativo canvas 24 x 24

R 2013 Sangue amaro canvas 30 x 24

R  2013 Heat, wet spring canvas 18 x 18

SK 2013 After-life memory canvas 81 x 100

Sk 2016 Tendresse paper (Heavy hand-made) 29 x 41

T 2012 Fade-in, breath, fade-out canvas 70 x 90

T 2014 Ultimo tango nero 140 x 120 canvas

T 2015 An unfinished incomplete emptiness sandpaper 23 X 28

W  2014 "lux" dixit, iam lux erat paper 24x32

W  2015 Discovery of the "maybe" paper 24 x 33

W  2016 Il timbro dei cori di cherubini canvas 20 x 20

Y  2016 Unlimited Sahara canvas 50 x 30

Sk  2016 Rosy hopes, tender tunes (at 12) canvas 28 x 28

Y  2010 Soupçons ou traces de souvenirs canvasboard 40x40


When we look at some paintings, we would like to touch them, in order to complete our perception of their identity. “Texture” is the tactile quality of the surface of art works. Painting textures are the result of all layers of materials, the directions of the tools used to apply the colors, the mediums, the grain of powders and sands included, but mainly on the thickness of layers.
The paper grain and the quality of canvas contribute to textures.
I like to include many different materials, in the superposed layers to obtain “speaking” textures. Those induce surprise and discovering new effects at subsequent observations, when light conditions vary.

Matériaux que j’inclus parfois dans ma peinture
pour obtenir des textures
1. Marbre blanc (farine, granulé, gravier)
2. Sable de fleuve ou de mer (lavé)
3. Sable de Sahara et d’autres lieux visités en voyages
4. Quartz blanc (farine, granulé, gravier)
5. Granit (gravier) gris, rouge ou jaune
6. Liège en grain
7. Charbon de bois (en particules)
8. Basalte noir (sable)
9. Marbre noir (granulé, gravier)
10. Carborundum (granulés)
11. Graphite argenté ou noir
12. Graphite en gros flocons
13. Mica naturel (écailles)
14. Mica blanc
15. Billes et écailles de verre
16. Brou de noix
17. Poussières et limailles de fer
18. Ponce en poudre
19. Sciure de bois
20. Quartz (noir pour aquarium)
21. Ecailles de mur
22. Cochenilles
23. Racines de garance

I can happen to use one or some of following to produce textures
1. White marble (flour, granules, gravel)
2. River or sea sand (washed)
3. Sahara sand and sand out of other places visited on trips
4. White quartz (flour, granules, gravel)
5. Granite (gravel) gray, red or yellow
6. Cork in granules
7. Wood charcoal (in particles)
8. Black basalt (sand)
9. Black marble (granules, gravel)
10. Carborundum (granules)
11. Silver or Black graphite
12. Graphite in large flakes
13. Natural Mica
14. White mica
15. Glass flakes and glass beads
16. Walnut husks
17. Iron powders and hammer scales
18. Pumice powder
19. New iron powder
20. Sawdust
21. Quartz (black for aquarium)
22. Wall Scales
23. Cochenille
24. Roots of madder

26 January 2017