As the serial becomes synonymous of originality and in collaboration with philos & sophia contributes to the creation of a language in a search path without solution of continuity.

In summary, the evolution of an artistic view direct to the search of an original and contemporary from the analysis of general individual elements to arrive at a determined unitary conclusion, that I decided to synthesize through the process of unification, to reach the essence, the whole, represented language where the serial production of individual elements finished by hand has become a constitutive element of a novel form of communication. From a conceptual point of view my works take shape by the finished work.
In their becoming, pixel and vector file, individual general elements, are my personal transposition of the technological image in art.

The artistic research, which started in the late ’90 with traces of figurative on transparent media such as glass, allowed to see that part of the surface of the color that otherwise you would not have been able to see with traditional media. During the course of research, the landing to informal meant above all a study of the color, because the sign did not meet the expectation of an original language. Then in the early 2000s, the issue of a painting by now “worn and flat” has stimulated the research to find a solution reached through the deepening of a form of contemporary art: photography and in particular some “informal” particles forming his final product, the pixels.

The geometric shape of the pixels has allowed then, through a personal transposition of that unit, to give solution to the problem of three-dimensionality with the use of wooden solid: cubes and parallelepipeds. The assembly and covering with cotton cloth of said solid assumes a symbolic feature of custody of an asset to be preserved: the memory and knowledge.

The research, therefore, has taken a direction decidedly deeper investigating, in addition to the emotional sphere, also the cognitive aspect. The recollections of the studies of literature, especially of philosophy, psychology and specifically the gestalt current, become the input source of continuous inspiration.

The focus on technology and in particular on vector graphic allowed to expand, always through a personal three-dimensional transposition of these files (made of lines of symbols), with new elements to be included in research: the line and the wire allowing to give shape to concepts hard to reproduce with the only solids. The shape of the line has also made possible the creation of physiognomic profiles, adding a touch of humanism to the artistic production, which being geometric could have seemed cold and rational apparently. The use of specific technical design programs make the computer an indispensable design tool for working with sophisticated machines equipped with cutting laser allowing it to expand the range of materials and supports available. New worlds and new scenarios have opened.

Since 2012, new cycles of predominantly geometric methacrylate works emerged and recently a new concept has initiated an important series tied to the Philos concept and to the Freudian psychoanalysis where the seriality of the wires, featuring the works, merges with the backbone in methacrylate which becomes “active” part of the work. The mark of the artistic production, for the use of a limited number of material elements used in the evolution search that are also references in some important current, as minimalism and programmed art, it is distinguished not only for the original composition, but also for its conceptual genesis of custody for the preservation of memories and knowledge..

As a result, the individual works are tinged with a definite philosophical matrix with reference to its original Greek meaning: philos love sophia knowledge of which they are material witness.