in the summer of 1975 i painted en plein air a series of landscapes titled “giardino”. this pristine experience is the root of my recent painting (starting from 2014) and especially of the series of self-portraits "array" in which the images emerge from a panting process based on instant experience and the result is totally unexpected: only after the image is formed i begin to look, to recognize, accept or reject.
concerning my education, i studied psychology and philosophy at the university “la sapienza” in rome (1987-1994) focusing on philosophy of language and mathematical logic. the ideas of ludwig wittgenstein helped me to understand that an artwork is a piece of reality and not its representation. concurrently with this academic study i practiced painting, where it was self directed until 1992 where i enrolled in the painting and sculpture courses at the academy of fine arts in rome.
in 1994, i co-founded the artist group “gruppopposangiorgio” with the fellow artists guido d'angelo and christian pertosa. the name was inspired by the italian iconography of st. george in which the saint kills the dragon to liberate the princess. for us the dragon represented the corruption of spiritual values and the princess was the beauty to be saved. politically we had anarchic ideas merged with romantic ideals. consequently, we rejected the institutions in general that we perceived as an obstacle to the realization of authentic art. in spite of this, the historic roman gallery trifalco exhibited our works showing great openness to these unconventional ideas. over the years we developed a multidisciplinary approach by collaborating with philosophers, performers, photographers and sculptors. the key work “multivisione georgòs” was performed at the argilla teatri in rome in 1999 as the fruit of our collective work including dia-projection, installation, live sound and acting. the audience was placed in the center of the theater and the images were projected from opposite diagonals on two stages.
at that time my painting was influenced by the abstract expressionism of emilio vedova and the new york school. the discovery of dodecaphonic music by anton webern and luigi nono, as well as the theories of kandinsky, led me to understand the painting as a formal and abstract language.
in 2000, i moved to frankfurt am main and in 2002 to berlin, supported by a leonardo da vinci grant. i wanted to have a direct experience of the german culture which had influenced me so much. in my early years in berlin i collaborated and exhibited with the institution NGBK and with several galleries such as lifebomb, ziegert for art and cor blimey arts belonging to the independent art scene of berlin and london. in this way i continued my ideals from the grupposangiorgio period. in 2001, i started working with the gallery spazio visivo in rome, which exhibited my first painting installation “multipiano landende landschaften” consisting of large glass panels and iron structures.
at this time i wanted to paint new figures having a tension between closeness and openness, isolation and communication with their surrounding space. key works depicting that process are the series "nudo interno" (2004) exhibited in paris at the foundation maison heinrich heine; the portrait series "martha" (2005) exhibited at the italian cultural institute of berlin; the polyptych "mietshaus = eine therapie" (2006) exhibited at the otto nagel gallery and the III berlin kunstsalon art fair. i lived and worked in a loft called loft360° that was my studio and also an art platform where i organized several exhibitions.
in 2008, i won a contest held by the maire-technimont group that gave me the opportunity to realize a large polyptych intituled "in the open", consisting of an installation of four bi-facial panels (each 4 x 2,80 meters) suspended in space to create a visual organism made up of the relationship between the figures painted on different panels. this installation was inspired by a series of preparatory trips to kuwait, dubai, paris, brazil, germany and italy. in 2009 it was exhibited in the foyer of the franco parenti theater in milan. purchased from maire tecnimont, today it is permanently exhibited in the "science gallery" of the university milano-bicocca and it is part of a pathway called "boulevard of innovation" that combines the various cultural realities of the bicocca area, linking it with the "sequence" of fausto melotti in front of hangar bicocca and the collection of contemporary art of the deutsche bank.
the origins of my recent work started to develop in 2014 with a series of self-portraits titled “array”. in 2015, a new series of full-length bodies titled "mapping" came out. these titles are inspired by the programming language; “array” is an arrangement of associated values and “mapping” is a function that applies to a list of elements (reality) which is turned into a new list (painting). the first series was exhibited by the gallery mementoproject at berlin art week 2014 and the second series by the atid gallery at gallery weekend berlin 2015.
in the second half of 2015 i moved to leipzig where i am part of an vibrant artist community, where i partecipate regularly in the rundgang (roundup) of the leipziger baumwollspinnerei arts precinct.
my latest work titled "yon" consists of a series of figures painted on elliptical cylinders suspended in space by a thin pipe going through the center of its body and fixed to the floor and ceiling. by pushing further the boundaries of the traditional support and detaching it from the wall, i aim to realize a “full body painting” that encourages a viewer to make the journey around the figures. thus, each person will perceive this new confrontation with painting in a peculiar and continuous changing perspective that problematizes any fixed understanding of reality. the particular support stresses the physical presence of the figure and, as it partly keeps the flatness of the traditional board, allows me to use the language of painting. my objective is to freely develop the image in a continuous pictorial space, images having a physical visibility detectable only by real life experience, in a way that the eyes — and the hands — can touch them as a real thing, rather than a shiny representation. the figures are directly exposed to the extra-painterly environment as they are not inserted in any illusory pictorial space, similar to byzantine icons. the first generation of “yon” was supported by a grant of prisma (IT) and exhibited in 2017 by the enter art foundation at the kantgarage in berlin.