The first works that were extrapolated from the overall project, were the ones I like to refer to as the bronze folios. As you may recall, the project originated with a random encounter (as it often happens to me, and perhaps it may be worthwhile to reflect on the problem of randomness) with the work of the etcher/engraver Carl Wilhelm Kolbe, proto-romantic artist of the 1700s, whos work I stumbled upon during the summer of 2010, while in the process of researching the creations of Hendrick Goltius, in particular his flying figures, in relation to my work on the human form (the ceramics belonging to

the they are alone series, which will be discussed later). As you may well know, Kolbeís Arcadian images served as the basis and foundation, following the artistic construction and re-modelling efforts I undertook, for the series of works titled In my forest. Starting from the two-dimensional work of the engravings, as I chose to assemble them, I eventually arrived at the voluminous aspect (with the true and genuine desire to instill physical thickness upon the image) while preserving the frontal perspective of the work. The willingness and desire to offer a voluminous perception from a frontal point of view,

The portrayal, only seemingly a landscape, which draws upon the work of the engraver should be, in this case, interpreted as the idealisation of an entirely conceptual inner vision. I suppose it could be asserted that those engravings are nothing but the final outcome of an ideal vision of a man and of the world that surrounds him. Thus the choice of subject represents nothing more than an opportunity and a pretext to express an inner choice, or rather a vision. This mediation, already established by the original engravings,

was further accentuated by the artistic construction and remodelling work that I implemented, something that has ultimately contributed to the creation of an ex-novo (or new) image. This therefore resulted, into an additional and more pronounced distortion that cannot, in any way, be attributed to a description of reality. The quest for a frontal perspective, the incorporation of different images, dissonant and sometimes incongruent among themselves, the use of monochrome patina or the use of the colour matching that of the metal

Many of these works have since sustained further refinements, specifically the creation of light passages obtained by piercing the bronze. Together with a process that in a way entailed the carving of the bronze folio, the perceptual aspect of the work was deliberately intensified, forcing the observer into an active examination of the subject which arises from the spontaneous ability of the eye to reconstruct the vision of an image that is not fully defined: the recomposition of the empty space, the inevitable visual reconstruction of the folio by the eyes of the observer, do nothing but intensify (even unconsciously) the possible interpretation of an image lacking confusion and superficiality.

Milan march 18 2013