When I was a postgraduate student at the fine arts academy of Brera (Milan), the fate wanted me to try again with watercolour painting. But what began as a duty, soon turned into an infinite pleasure. I started searching among photographs taken by myself or my parents and friends – both recent and old ones – selecting those shots where nothing seems to happen. They are the ones I prefer, because the entire reality is nice and touching, even when it is immobile. All the more that are we observers to move, with our eyes and our imagination. In the photographs I used to inspire my work I found the traces of bodies and places that – while painting – I either let to emerge – sometimes hardly – from the blue or to be drowned into the white. They did not dominate the scenes, but their presence was all the same sensible and able to remain latent in the eye and mind memory.
It is really true that fortuitousness does often play a role in working and this apply not only for artists! However often a short phase of serendipity was replaced by one of awarness and by my intentional let to emerge lights and shadows able to narrate our infinity of stories to the watchers. Evidently, chances are to be acted.
I have often started from a photograph in doing my paintings, but this time it seems to me that the tecniques developed is more free and it is more prone to adapt the personality of the colour, first, and of the observer eye later.
As I expected such a sort of feedback, or, to be more exact, cowork of the audience in determining the final effect of my works, I was induced to gradually let the chance play its role in the revelation of the forms.
The blue and white spaces (the latter unpainted, but all the same fundamental) alternate each other in the description of a reality that makes room for freedom of water to suggest unforseen depths and unforseeable brightnesses.