My research field has been painting about  the concept of illusionism. I pursued the conceptual process that the work produces in the spectatorís mind, and not its value as a shape. Iíd like to give the result of consideration about knowledge of painting nature and what that nature  shows. The intention of detailed painting has not been to push the representation to its extreme limits, but to investigate the fundaments of the representation.  From an already tested realism (thinking at early works) I moved to  conventionalism in the tecnical terms, moving towerd a realistic abstraction. This way of thinking about my images represent, springed from reflection about Hyperrealism, an american artistic current, as the starting point of my historical interest. Hyperrealism is situated on an  extreme of a virtual line along which there are all the expressive ways and the possible configurations of painting. Opposite to Hyperrealism, on the other extreme of the line, is abstraction. Two forms of art at the extremes. If this line is brought back to a circle, the poles should touch one each other, joined in their being and case. For this reason I underlined  the abstract nature of Hyperrealism and  the systematic conventionality of signs that determine the figures, in their turn realist. The selected subjects come from the particular attention about any aspects of reality: particulars of a car, often degrading, black air balloons enchained to each other by a net, incandescent  small lamps, wasted balloons. They are all details of a world which speaks about the past, sometimes in a nostalgic way, things used and then thrown away, residues of life that  remember the human passage, indelible tracks of their daily life. The creation born from photography, through which I bring the external world in my studio, where I elaborate mentally and visibly the material at command. It never is a question of a simple copy of a photograph, but itís a moving rivisitation of what cals my attention and stirs my curiosity. I have a predisposition to analyse details, both in life and in painting. For this reason, in my pictures, each feature is accurately focalizated. Art is delight, amusement, pleasure; I find all this in painting and much more in the idea to see the persistence of manual activity in this super-machanized era, in which all is technological.


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