First was the dominance of an architectural view, the research of proportion, just like the golden ratio,  and unexpected perspectives.
After, working on a certain idea, hand working often not ruled by the rational part of the brain, a sudden impulse to represent emotions came in, feelings perhaps in a symbolic way but anyhow sincere, not to hide spectres… in favor of a free unconscious game, everything arose thanks to a hint coming from an important someone:

“cut and put into a stripe of painted paper or leather”
And the creative game began!
Cutting a new firm but very light material, painting with solid colours and merging in a sort of big puzzle but was not finished, it was developing in other amazing ways.
Is beauty enough and the only reason for Art?
Art is not the reality representation, it’s The Real!
I try to escape from the globalized concept of beauty that’s the current kitsch.
Two, sometimes balancing sometimes diverging, origins in my works that could be synthesized
in these concepts:

Wabi Sabi

representing a Japanese way for aesthetics and a world view that accepts transience and imperfection, not finished, subjectivity: the opposite of the old figurative in the current aesthetic urge, a sort of antidote to kitsch.

The Unconscious

auto-represents itself, breaking the project mission and the proportion template releasing creativity from the horror of the spectre coming out.

Disagreeing the common way of thinking about the perception of art, I think that work validates itself in its own.

The signifier deviates from meaning!
The signifier, symbol impulse against the death, drives to the work…. the meaning bends the real reason why of creative action.
Not a meta-physical but a meta-psychical work (not looking for an objective meaning).
The symbol is the impulse consequence  and doesn’t represent a reality or a concept;
the symbol sublimates converts impulses into satisfaction and the real.
The work is not a lapsus, the signifier doesn’t drive necessarily to the meaning.
Art is not a research of harmony or amazing proportions but a release of a dream, of impulse.
Picasso told: the opus finds out me.
That’s the truth, the artist never finds his artwork but he’s found out by it.
In the beginning is a conceptual form… the dream is driven to spread itself over the perspective plane and a third dimension, trying several paths motivating the three different portrayals of unconscious…

Hic et Nunc

acting free right now, in the present, quitting the denial of own spectres, never ruled by the past and taking not into consideration the future, the project.

The three main sections of my works, although originated from the same mental process, become others evolving in different appearances and ending in the urge of an aesthetic satisfaction.