I would define it as an unwound or unwrapped realism, even though I am now giving more
importance to the textures and energies that the colours produce when they interact; some
of my works could be classified as abstract-figurative. My goal is always the same, though:
to recreate the inner beauty of the human being.

I have always painted with human models in sessions of at least three hours, with the canvas on the easel, after having prepared the fabric with textures to provoke interesting accidents. But now I try to interfere less in a preconceived manner, and let the accidents shine with all their spontaneity, by experimenting with different materials. Lately, I sometimes take the canvas from the easel and leave it on the floor, so that the paint is thrown on the fabric, and thus favour the accidents that will guide me towards the final expression I will end up wanting to create.

At first I painted realistically. Later on, as I felt I had mastered drawing and technique (about which I was obsessed during the first decade of my career), I introduced volume textures, so that they produced these accidents I find so important. If you look closely at the painting you will only see knife strokes or big masses of colour, but as you move away from it these signs end up building a very defined face: what is important is that that face’s being reveals itself to us to the point that its look penetrates and transforms you.