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.
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.
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 Night in death valley canvas 100 x 72 mixLumière au passé VII 2018 Canvas mixed 40 x 50 cm |
