I feel a very strong fascination with folds. Folds move me. I realize they are an obsession for me. I see folds everywhere.

Although I never show it, the human figure is omnipresent in my work. The seeming contradiction is for me an essential element. It is never seen, but it is nevertheless there. I prefer the evidence of its passing, its traces, its imprints.

IN 2000 HOW I CAME TO DIGITAL PHOTOGRAPHY  The "HANDSCAPES" is the first series that brought me to photography. For a long time I wanted to work on the theme of the palm of the hand. I made several attempts through drawing and painting without finding the appropriate medium to express what I felt.  One day, while thinking again about this idea, I photographed the palm of my hands. I developed this film and I found a surprising result; I put them all on a table and I began to play them, turning them around,  assembling them like a puzzle. Suddenly a single image appeared to me; it was exactly what I had always wanted to make. I scanned these images to assemble them and to work with them on my computer.

Working with the photograph is magical for me. I am able to find possibilities which did not exist with the other mediums I use. 

1998: I photographed the hills of Siena in Italy, for a series of paintings called "TERRA DI SIENA". 

2003: I found these photos once again; I decided then to make the photomontages entitled "COLLINE SENESI".

2005 : My fascination with photography continued and I was inspired to make a series entitled "BLACKLIGHT".

I usually work on one theme for two or three years until the moment when I begin to feel my interest in the subject lagging. At that point I stop painting entirely. This signals the opening of a period of crisis (always difficult) which can last from a few weeks to several months, until a new burst of energy, a sudden discovery, a breath of fresh air cause me to work again.


For me, a painting, regardless of subject, is above all an excuse to paint. It has never been my idea to either explain or to tell a story.

My paintings often have a sculptural aspect. In the "APPEARENCES" and "FLAGS" series (1981-1985) the canvas, having been mounted on rigid burlap and slightly rounded by means of a light structure attached to the back of the painting, is "cut-out". The "cutting-out" seemed logical to me from the moment when I realized that painting the wall behind the subject held no interest for me. It seemed to me it would limit the space, when, by cutting out the subject, I could give it freedom. That same sculptural aspect appears in a very different way in the "TRACES" series (1989-1991). Here, the painting is back on the stretcher, but the sides have been padded and painted.

Starting with the WITNESSES, stripes have made their appearences in my paintings of their own will. It is they who grant movement and color. We also can see them in "TRACES" and "TERRA DI SIENA".

I have painted with oils for many years; between 1981 and 1997 I used acrylics which are better suited to my working rhythms.