NOTE OF RESEARCH AND ARTISTIC INTENTIONS

Originally was the drawing, then the sketch, more rigorous, more burdensome, devouring the hours in a seemingly out-of-time universe.

Then, the exchange with a certain vision of reality will unfold in a faster time space, photography.
With these same assets to reveal emotions, transcend reality, offer it another frame, another vibrancy.

Generate another question about what surrounds us. What is the weight and how many sails obscure our vision?

But photography made up of diverse and varied reports, oscillating between black/white and color, waving among human landscapes and microcosms, has its tactile limits. Abstract drawings, sculptures, mashed paper, wood, wire mesh, barbed wire and metal tubes will accompany my photographs.

With always more hidden moments, fell silent. Secret reflections, confidences with dead, fragile pieces of wood. To clean, consolidate, scratch, to sketch and bring back to life the portraits and silhouettes that shape them, draw them...

As much as I appreciate abstract art, so much of a plant visual, mineral will spring figuration. Captured, I could not contemplate its forms, its curves, its lines without perceiving a human or animal form.

Photographic failure that only the sketch could raise. Reveal the imagination imposed on my eyes.

Making the presence of these so-called 'dead wood' bodies immanent, unavoidable, conceals lives of fixed appearances that embrace, intertwine juxtapose, slip away, develop on this exponential spiral and its incessant movement from the infinitely small to the unambiguously large, in which our own bodies are inscribed.

Draw not head and go to the essentials according to memory, but exchange, take what these woods give me.

To be closest to them, in a living relationship, in a face-to-face with this sinuous, rough material that attracts me and loses me in its maze of human, wavein, aerial details.

Drawing and sculpture never cease to interpose, requiring a continuous alternation to allow the eye to slide serenely along a line, caressing curves and contracurves in the vertiginous fractal, evoking Benoît Mandelbrot.

Sketching to cherish this knowledge derived from an Asian conception that a master drawing untreatable, will have conveyed to me. Rethink the line, the pattern, the distance, the connection between all things. Maintain this very special relationship of drawing, practically without looking at the page, just to rest a lost mine, where everything is only correlation between eye, hand and pencil.

Sketch/drawing; the time of this gaze pause in search of a point, to accentuate bodies which impose themselves on my vision.

Inevitably, a series of photographs, trees and water, were inserted into this space, completing this plan to offer another vision of a landscape and its components. Give back their dignity to these personalities, marked by time, marked by stories. Capture, reveal their reality, their intimacy, their sensuality. Their resonances where this superhuman is reflected, defying the scale of our gaze and, like Emanuele Coccia, proposing another reading of the order of species.