Exhibiting my works at the Perugia Social Photo Fest, gives me the opportunity to focus on the fact that I always start from a photograph in the creative process.
They are mainly photos of faces, which I find in the news, which then I photocopy on paper, and these photocopies become the center around which the painting or the installation is developed.

There is no drawing under my paintings, but always one or more photocopied photos. I use the photo because what interests me is to bring a trace of “life” inside the painting.

The photo records a fragment of life. I am interested in this being a “fragment of life”. The paintings are acrylic paints on stainless steel plates. Steel is a reflecting surface and it mirrors the surrounding environment, which then becomes part of the painting itself. The color seems to slip away together with the reflections above the steel. Like the surface of the many screens that surround us in everyday life, on which images, always different, flow unceasingly. The images (and the news) pass fast, nothing seems to touch us, everything flows on the screens. Except for those faces, taken from the crime news, that “speak” of tragic, terrible stories. That photocopied face, which is what remains of a life marked by tragedy, often by violence, forces us to stop the gaze, and the heart, for a slight emotion.

That face forces us to look beyond the surface (of the screens), slippery and moving and forces us to think about the depth that is life, every life.