Pastels on Paper, Oil on Needle, 2014-ongoing
Sgraffito on oil pastels on paper in various dimensions

Pastels on Paper, Oil on Needle, 2016 (19.5 x 19.3 cm)

Pastels on Paper, Oil on Needle , 2017 (23,4 x 17,4 cm)

Pastels on Paper, Oil on Needle, 2017 (23,4 x 17,4 cm)

Pastels on Paper, Oil on Needle , 2017 (23,5 x 17,4 cm)

Pastels on Paper, Oil on Needle, 2017 (23,5 x 17,4 cm)

Pastels on Paper, Oil on Needle, 2017 (cm 23.4 x 17.4)

Pastels on Paper, Oil on Needle , 2017 (17 x 12,7 cm)

Pastels on Paper, Oil on Needle, 2017 (17 x 12,7 cm)

Pastels on Paper, Oil on Needle, 2016 (cm 19,1 x 22.5)

Early Geometries. Pastels on Paper, Oil on Needle, 2017 (20.8 x 21 cm)

Pastels on Paper, Oil on Needle, 2016 (cm 22.3 x 19)

Pastels on Paper, Oil on Needle, 2016 (cm 24 x 33.9)

Pastels on Paper, Oil on Needle, 2016 (cm 41.8 x 29.6)

Pastels on Paper, Oil on Needle, 2014-2015 (42 x 59.4 cm)

Pastels on Paper, Oil on Needle, 2014 (42 x 59.4 cm)

Pastels on Paper, Oil on Needle, 2014. (42 x 59.4 cm)

Pastels on Paper, Oil on Needle, 2014. (59.4 x 84 cm)

Pastels on Paper, Oil on Needle, 2015. (59.4 x 84 cm)

Pastels on Paper, Oil on Needle, 2014 (59.4 x 84 cm)


                          Installation Views


Pastels on Paper, Oil on Needle, 2016 Akademie Schloss Solitude, Stuttgart, DE (Clockwise from top left cm 59,4 x 59,4; 59,4 x 59,4; 59,4 x 84,1)

Pastels on Paper, Oil on Needle, 2016 Private Collection (From left to right: 8.5 x 10,6 cm, 12,8 x 17 cm, 17 x 17 cm)

Quadrati Magici , 2018 Akademie Schloss Solitude, Stuttgart, DE (12,3 x 12,4 cm)

Quadrati Magici, 2018 Akademie Schloss Solitude, Stuttgart, DE (12,3 x 12,4 cm)

Quadrati Magici , 2018 Akademie Schloss Solitude, Stuttgart, DE (12,3 x 12,4 cm)

Quadrati Magici, 2018 Akademie Schloss Solitude, Stuttgart, DE (12,3 x 12,4 cm)

Quadrati Magici , 2018 Akademie Schloss Solitude, Stuttgart, DE (12,3 x 12,4 cm)

Quadrati Magici, 2018 Akademie Schloss Solitude, Stuttgart, DE (12,3 x 12,4 cm)

Quadrati Magici , 2018 Akademie Schloss Solitude, Stuttgart, DE (12,3 x 12,4 cm)

Quadrati Magici, 2018 Akademie Schloss Solitude, Stuttgart, DE (12,3 x 12,4 cm)

Quadrati Magici , 2018 Akademie Schloss Solitude, Stuttgart, DE (12,3 x 12,4 cm)

Quadrati Magici, 2018 Akademie Schloss Solitude, Stuttgart, DE (12,3 x 12,4 cm)

Pastels on Paper, Oil on Needle, 2017 Installation View during Quelque chose comme le dessin at L'Entrepôt Daniel Boeri Gallery, Monaco, MC.

Pastels on Paper, Oil on Needle, 2017 Installation View during Quelque chose comme le dessin at L'Entrepôt Daniel Boeri Gallery, Monaco, MC.
From bottom left to up right counterclockwise: 24,8 x 24,7 cm, 11,9 x 10 cm, 22,9 x 22,6 cm, 23,4 x 17,4 cm, 23,6 x 17,4 cm, 24,7 x 24,6 cm, 17,4 x 23,4 cm, (3x) Neglected Colors, 2016 each 15,9 x 15,9 cm

Pastels on Paper, Oil on Needle, 2017 Installation View during Quelque chose comme le dessin at L'Entrepôt Daniel Boeri Gallery, Monaco, MC.
From top left clockwise: 23,6 x 17,4cm, 29.7 x 42 cm, 24,9 x 29,6 cm, 29.7 x 42 cm

Pastels on Paper, Oil on Needle, 2017 Installation View during Quelque chose comme le dessin at L'Entrepôt Daniel Boeri Gallery, Monaco, MC.
From top left to bottom right: 24,9 x 25 cm, 25 x 25 cm, (x3) 20,8 x 21 cm, 17,5 x 20,5 cm, 17 x 19,5 cm

Pastels on Paper ,  Oil on Needle,  Installation view during Ho sognato una prateria di posidonie, Fruit Gallery, Bologna Italy

Pastels on Paper, Oil on Needle, Installation view during Ho sognato una prateria di posidonie, Fruit Gallery, Bologna Italy

 

Pastels on PaperOil on Needle is a series of drawing that takes place as a development from Black ballpoint pen on paper, 2013-Ongoing. In this new serie I adopted a special technique to I increase a sort of fragmentation on my agency. This technique implies the use of color and at least three phases: in the beginning the paper gets saturated with colors, without any formal aesthetic parameter. Generally I work on many pieces at the same time: the result are heterogeneous chromatic compositions, often in many colors. The next stage denies this first act, covering the entire surface with one color to totally conceal it - usually with a black. Once the ground is ready I can start again ‘discovering’ the drawing during its process revealing color - through a subtraction procedure with an engraving tool, or any tool able to remove with precision small quantity of material. This contradictory composition follows an erratic movement, by accumulation-repetition of innumerable subtraction signs-gestures, on which as a whole I loose controle: my work for each drawing protract for many hours, induce a state of conscience rarefication similar to a state reached through meditation practices. Using the term ‘composition’ here is probably incorrect, because it call for an agency which in this process is intentionally weakened both by repetitiveness of the sign and by my complete forgetfulness of the underneath layer, created in a different (also psychically) time , later hidden with a monochrome. This deferred procedure which act on previous stratifications out of conscious - and out of gaze - generate the final drawing: a form irreducible to my own aesthetic criteria, an autonomous existence.

Pastels on PaperOil on Needle è una serie di disegni legata a Black ballpoint pen on paper, 2013-Ongoing. In questa nuova serie la mia agency autoriale si frammenta ulteriormente, in almeno tre fasi principali: in un primo momento il foglio viene saturato di colori, senza alcun criterio formale prestabilito. Generalmente lavoro su molti disegni contemporaneamente: il risultato sono composizioni cromatiche eterogenee, spesso policrome. La fase successiva nega questo primo atto fondativo “ludico”, letteralmente ricoprendolo con un monocromo - generalmente nero. La terza e ultima fase riscopre parte della tesi cromatica iniziale, successivamente nascosta, attraverso una procedura di sottrazione dell’ultimo strato (monocromatico) con un bulino - o un qualunque altro strumento capace di asportare con precisione piccole quantità di materia.
Questa composizione in negativo segue un percorso erratico, attraverso l’accumulo-ripetizione di innumerevoli segni-gesti di sottrazione, sull’insieme dei quali perdo il controllo: il mio lavoro per ciascun disegno si protrae infatti per molte ore, inducendo una condizione di rarefazione della coscienza simile a quella raggiunta attraverso pratiche di meditazione.
L’uso stesso del termine composizione è del resto inesatto, perché prevede un io agente che qui è invece intenzionalmente indebolito sia dalla ripetitività del segno che dalla mia completa dimenticanza dello strato sottostante, creato in un tempo - anche psichico - differente, e successivamente nascosto dal monocromo. Questa procedura dilazionata che agisce su strati precedenti e fuoriusciti dal cosciente - e dallo sguardo - genera quindi il disegno finale: una forma spesso irriducibile ai miei stessi criteri estetici, un’esistenza autonoma.