I’m an artist that study a lot to reach the zen of aesthetic

I would like to make a premise: art cannot ignore what has been done before. The work of every artist of the past is important, fundamental, for the artists who came after. Each era has left a trace for the next, which is why I deeply believe that in order to move forward, one must be able to look back. Without memory, the meaning of history and life is lost.

Someone will wonder why an artist decides to make art. I can only say that for me painting is a matter of life or death, it is not a choice. It is a necessity, a reason for living. It is like a love affair that has the sole purpose of painting. Mine is a painting hanging on the thin thread of a human reference, presence and absence together, the sign of the face and the shadows are traces of the body, but they are also incorporeal, and this is the magic that only painting can afford.

I love this visual suspension, like chasing the solution of an ever-changing enigma, where the search continues without ever finding a way out.I believe that painting must be free from operational dogmas, I believe it must find the need and
pleasure of existence directly within the boundaries of its work.

I also love a certain idea of nomadism in painting, because as Arthur Rimbaud said “you must always have a place to go away from”, and I would like to add “and to which you can return”. A bit like the traces of my faces, inspired by the sculpture of Brâncuși, which sometimes come back in my paintings after years of nomadism. A bit like when I put together themes from different artistic periods, because painting must be a continuous evolution, it must always be enriched with new experiences, as in life after all, there is always something new to discover.

In my work the surfaces are often geometrically divided by horizontal or vertical lines, but the geometric rule has neither rigor nor coldness. It is a rhythmic scan. Some illustrious critics, also here in Finland, have advanced the idea of the golden proportion referring to my geometric spaces, to my paintings, but for me it is something more about intuition
than rigor, because I prefer that framework there is a sense of movement, an unstable balance. Color has a depth built up by infinite glazes, by delicate passages, to invite the gaze to slow, silent contemplation.

Looking must take place gradually, the viewer must find the time to enter the painting, he must have the pleasure of looking in depth and discovering something new each time. Mine is a painting made of cancellations and superimpositions, of removing and adding matter, of shadow and light.