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After an embryonic period as a street artist in the 1990s and until my encounter with Baldo Diodato around 2007, my painting focused on the search for an essential pictorial stroke in the figurative field.
It was thanks to long conversations with Baldo in his studio at Palazzo Doria Pamphilj, in Piazza del Collegio Romano (at the time it was unimaginable for me that one day we would share it to work, as actually happened a few years later), that I began to make the concept of abstraction my own. And I undertook that painful but necessary process of simplification.
At the time – I had just returned from New York, where I had moved for a year and had come into contact with the nascent Dumbo community in Brooklyn – I was experimenting with painting on plexiglass (made even more complex by my insistence on using tempera as my working medium, thus requiring countless precautions): what intrigued me were the possibilities offered by the transparency of the medium, which allowed me to infuse, onto the potential canvas, a dual perspective of color.
Meanwhile, Baldo would tell me about his New York, the first studio he shared with Mario Ceroli, his friendship with Marcel Duchamp, and his first frottage experiments. My painting, around 2015, had changed profoundly. I began to experiment with some forms of grattage on still-wet paint, in search of a semi-figurative code. From these studies, the collection of illustrations for Dante's Inferno, created in 2021, was born. Considering it a point of arrival, I then abandoned the subsequent manipulation of the image, leaving only the automatic process of creation to develop the canvas, reconsidering all my previous work as a path toward a new form of automatism, different from the Austrian transautomatism of Hundertwasser which had inspired it, and which I have therefore renamed Ultransautomatism.
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