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Mairano, Brescia
LABA-Fine Arts Academy in Brescia (Italy)
It is not easy for me to make a distinction among the languages I use. All is painting, for me, even print-making and photography, but certainly all was generated here, in a phisical relationship with a matter that develops in image. Matter has its own inner power which escapes the artificious boundaries of sign. I became conscious of this very soon, when working endlessly on still-life compositions the first informal paintings arose. Origin (2003), is indeed a composition with coffeepot, pottery, some fruit and artichokes. I inserted in an already trodden road, conscious that all has already been done before and therefore with the humbleness of a person who wants to learn from the masters. I never considered necessary to create something absolutely 'original'. What I really care of is to be able to sharpen the instruments to express my vision of the world. It is a poetic and positive vision, notwithstanding all the difficulties and sufferences - almost an act of faith, I would say - in an essential beauty and e bounty of life. Regarding photography, I want to say that any technique of expression has its own rules and its characteristics, but this does not signify that a means such as the camera - which originally had been realized to capture real images to be converted into records - cannot be used to evoke different dimensions. A photo is an abstraction, if we consider, as it records only a little portion of the world around. The choice of the shot and a glance sensible to particulars already create a de-contestualization of a single, often secondary, element which is so subdued to the viewer's attention. The camera, morover, also allows to surpass the boundaries of reality to create images which are nearer to paintings. in this case, tho objects become the colours squeezed on the palette that allow to paint on a virtual surface which is the air itself. The temptation for a painter is great as the interacting colours are the pure and transparent ones of light that give birth to combinations and shadings very difficult to obtain mixing together the painting hues. My more informal photographiyc works are never the result of digital graphics elaborations. I only allow myself to modest corrections in tone and exposition to exhalt those elements which are not immediately perceptible, but nothing else. Nothing is added or eliminated, no special effect is used. It is an immediate relationship, what I look for, that helps me reveil the poetic dimension which is in real life, but which generally escapes our perceptions.