I am experimenting a method with which to break down an image into a new language, where three dimensionality is not just a perceptive sensation, but an interpretative method where light and shade belong to the shapes that issue them, independently of colour. The force elements are re- presented as pinnacles, which I then cover with gauze and fabric. My experiments aim for ever greater harmony and sinuosity in contemplating symbolic male and female features that are part of natural creativity. The main objective is to group forces together in an attempt to find a common starting point that will provide the framework for the composition. The first intrepid step is to separate the composition from the drawing, and then create groups of different forces in divided compositions with partitions developed coherently in different ways and directions

Creative exploration guides me to seek a point/primary element to build the shape from which a new source derives, so that the initial spatial entity evokes circles in the water; across the surface I see the interior aspect of things emerge, animated by infantile lightheartedness, in contact with the basics of the elements. At the next stage I work to connect the different pinnacles with steel cables so I can achieve the shapes I desire; I tension the structure with a strut and tie method and then cover it with several layers of gauze stabilised with plaster and other adhesives, which I then smooth. Considering that these are also the structural elements of tensile structures, with an affinity to architecture, I name these works of mine ‘tensile paintings’. I observe them and see them as a satisfying meeting point of sculpture and painting, arising from the need to provide a three-dimensional effect. As in a sort of freeze frame, I see the vibrant nucleus of my tensile painting suspended, only to go back to representing itself by composing like elements that intertwine, make contact and appear to project themselves in an endless soul dance.

In certain compositions I find myself creating elements whose appearance is detached from context; images from archetypical dreams intersect, letting the instinctive, primordial formation of my thoughts prevail, ignoring collocation. I consider the result to be contemporary art inspired by ancient mixes. The suspended elements withheld by cables, the overlaying of a number of panoramas and measurements, and planes that break asunder and slope, are all part of a unique, stabilised method. This leads me to perceive a new interpretive power, the distillation of my studies into plastic compositions, which were a fundamental part of my training and have driven my approach to architecture in the urban universe.

In effect, the structure arises from an increasingly well-defined project whose volumes may not correspond at the painting stage. The materials and mixes deriving from age-old artisan methods give this work a classical air; over time it will age with the grace that enlivens the sign engraved in the picture, as in a rock.

This is what I aspire to when I fix ideas transmitted by infinite creativity, whereby I can welcome and house them in their own space, where the for- ce of matter prevails over my thoughts. The material flow arises from a source of emotion and converts my experiences into plastic shapes. Measurements may not coincide with reality, but they can correspond suitably to a perceptive experience.

Light is not provided by colours, but by the shadows determined by changing directions and relief; the different positions of the light sources produce many ama- zing suggestions. I now clearly understand that my education was based on contemplation of all aspects of nature and its ineffable laws, later integrated by studying many artists, artisans and painters from different periods; people whose talent is a constant source of inspiration for those capable of perceiving the inexhaustible richness of their communication.

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