My theory on which I base all my research, since I studied at the Academy, is that in painting there is nothing almost new to invent.
Today it is very difficult to follow “modernism”, at least that which exists in the presupposition that tradition is to broken with, and being provocative. Because after Duchamp, with his moustached Gioconda, and Fontana cuts, it is not only useless but stupid.
The past, in the “new” returns always; I think that the stimulus, the tension of the artist should not be in the occasional research for the “new”, but in the recycling of potencies born and never exhausted, because logic of consumism burns everything, also art with its mania for renewal of the product at all cost. Thereafter to deny the artist, the creativity in name of logic of profit that asks for selling product not to change it. Instead of the concept of linear development, I like to use the word NOMADISM, that along the paths of art return to the same point, with the awareness of a story, neither encumbering nor lean, but simply ineluctable. So the artist cultured and vagabond, looking for new harmonies and contaminations; the musician consciousness could call it a FUSION; I prefer to use the word BLENDING, Blending Art, the paths of history and language of art intersect.
All opposite to the concept of coherence often emphasized but useful only to make easy classification; the only coherence that is possible is the one with oneself and with own history and culture.
Another fundamental thought is related to the tools of art. I never felt myself bound to paint brushes and to colours. What pushes my research, is curiosity, experiment, visual perception. I express myself best through my sense of vision; it could just have been musical, literature but it is not. Therefore when I think, when I plan, I develop it along the lines of something useful to the eye, and each project has its tools: the paint brushes, the camera or the computer, all supported by tension towards experimentation – never an end in itself- where experience of executing the work lets new harmonies to intuition, that is BLENDING, Blending Art.
I wanted to return to dirty my hands not in a metaphorical sense but really, especially now that I am using the computer with its highly developed technology, including elaboration of photography. The typically sense of the colour lab is gone. I am not a sentimental, on the contrary, I don’t care a damn, I love technology, I use it all. But I think I am aware of its function and I am annoyed by stupid misuse. I hate special effects that only exist for the sake of effects, so that when the hanging tragedy of 11 September 2001 happened, it seemed that it was a film where the division between fiction and reality has totally disappeared.
Even when I use a camera I work in such a way that one can feel humanity, that there is a man on the other side, with a head and a heart, who, what a “shame”, thinks.
A last thought on homologation: I might be the last of the romantic, but being an artist, may be the most insignificant artist, but artist, is a way to focus my homologation, and in these days it is very little.