Since then I have been working regularly and thousands of works, both hand-drawings and digital works, have been created.
The starting point of my digital works are hand drawings, which are mostly made with pastel colors, colored pencils, watercolors, acrylic, Rapidograph and graphic pens.
In the 1990s, very large drawings were made without any planning. The forms – organic and psychedelic – grew and proliferated. Some of them I called “ricami” (embroideries) because the patterns were almost filigree.
I experience the seemingly ornamental forms as elements of a complex alphabet in constant evolution.
In my drawings organic forms, letters, words, anthropomorphic beings and abstract forms stand in a network of dynamic relationships.
But the drawings that mean the most to me are the purely figurative (Categories Souls and Bones).
They show anthropomorphic figures and are either portraits of beings or they represent situations that allow multiple and even opposite interpretations. It’s all about primal conflicts and longings. Some beings are to me a kind of “protecting spirits”.
The search for (obvious or hidden) meanings is the second work in progress besides the actual work and enriches it.
The search for interpretations gives the drawings an additional raison d’être.
But meaning always comes after work and never before. No drawing is planned.
I deliberately avoided any form of art training. I didn’t want to
“civilize” or “educate” my work.
It had to follow its own laws. My job was just to keep making the artwork and then to find out what it meant. One needs trust to go on like this… But I had the feeling that I was following an hidden track.
“Soul” is central in my work. Art is soul language.
Art is a way to make soul visible.
My art celebrates the difficulty of soul to inhabit this world.
In this context, “soul” should be perceived as an open
It is all about contact with inner worlds, dimensions that transcend the boundaries of the individual.
My works can somehow be understood as a text written in a cryptic language.
My art draws directly from the unconscious and I consider it less as something personal or private.
Is the unconscious not a dimension in which everybody swims (and sometimes drowns…)?
With my modest means, I try to lead a dialogue with this dimension and to animate the viewer to lead a similar dialogue.
Around 2006 I started to photograph my drawings and experiment with graphic programs like Photoshop.
This gave the drawings a kind of “second life”.
The forms develop further through the digital process and embark on a kind of “journey”, during which they take on new roles and identities.
Symmetry creates a center and an order that stabilizes the fluidity of the forms.
Due to mirroring, sometimes new figurative elements appear spontaneously in abstract works.
My digital works are really almost always about mutations. Patterns are transformed and given new “life” possibilities. Each subject can experience itself as many and reappear indifferent contexts.
The pictures are processed again and again over a longer period of time.
Often only parts of the original drawings (the “Matrix drawings”) are processed.
These fragments are given an identity of their own, like children who lost contact from their “source” and take on a new identity.
Figurative drawings transform in patterns, where the themes of the multiplication of the self and the loss of parts of the self are indirectly thematized.
“Carpets” and “Tapestries” are compositions of organic, abstract and figurative forms. The original fragments of analog or digital drawings become surfaces, like words that are repeated and form an echo.
It’s all about space and transformation: these surfaces are perhaps encrypted paths… Despite their extreme structure, they have retained their organic character. The order holds the forms together but the forms cannot hold still.
At the moment my digital works are about 2000.
They are divided into categories, according to content or formal focus.
The categories (or families) are at the moment more than 20.
I was born in Milan in the sixties.
I have been living in Switzerland since several decades.
I worked as a translator, as a therapist and as a language teacher.
I have followed a long and varied therapeutic path.
I have been writing since early adolescence.
I teach also creative writing and practice different other forms of “soulwork”.