The scent of oil paints
La mano di Dio
Olio su tela 40x50, novembre 2023
L'omonima scultura di Auguste Rodin raffigura il momento della creazione di Adamo ed Eva. Nella mano di Dio c'è un blocco di marmo in cui due figure, maschile e femminile, stanno prendendo forma. Ho sostituito le figure antropomorfe con la Terra per sottolineare, come il Genitrice, l'importanza maggiore del pianeta rispetto all'Uomo, nell'ordine del creato.
Umanità, addio
Mixed media on 30x34 board, November 2023
Created in a short time following the intensification of Israel's attacks on the Palestinians in Gaza, it takes inspiration from BansKy's "Girl with the Balloon", replacing the heart-shaped balloon with a world-shaped balloon.
Private collection
Amore e Gaia
Oil on canvas 50x70, November 2023
Love and Gaia: a possible union? Starting from the story of Cupid and Psyche, narrated by Apuleius and represented by Canova, I wonder about the possibility that, despite everything, there is a happy ending.
Planet B
Digital work, August 2023
Designed and presented at the second edition of the Antonio Carena Award, Tempi Oggidiani, printed on a 50x50 panel.
The competition's call entrusted the artists with "the task of reflecting on Carena's pop career to narrate, through the analysis of his artistic production linked to this period [...] a personal, contemporary interpretation of the current". I chose an image that is specific to my artistic production, repeating it in non-identical copies, aimed at communicating an environmentalist message also expressed in words. The clouds surrounding the four planets are therefore not the only meeting point with the master, my fellow citizen, because Carena also had the theme of sustainability and the environment at heart
Genitrice
Oil and mosaic on panel 65x30
I disturbed Michelangelo again to create this new work, copy of a classic detail with "variant". This time, the variant served me to reduce man's privileged position in creation, relegating him to his real secondary role. The true protagonist of creation is the Earth, which from being a creature is able to become the generator of Life. Adam, with his smooth index finger, is still waiting for someone or something to quicken him. The color didn't seem enough to represent the Earth this time, so I tried the mosaic.
18 maggio 2023
Pietas
Oil on canvas 80x100, March 2023
Another woman who supports the weight of the world, another woman tied to the Earth. In Michelangelo's image that I have reinterpreted, "everything is finished", only divine intervention is awaited. But with this, which is a secular, albeit sacred image (because there is nothing more sacred than Mother Earth), I wonder about the future of the planet and I don't know the answer.
Indifesa
Oil, acrylic and various materials on panels, November 2022 "I try to defend myself, but I can't. My hands are inconsistent against your violence. The bruises multiply and, where the skin tears, blood flows".
Vir(T)us
Mixed technique on canvas 50x50, August 2022
I participated with this canvas in the first edition of the Antonio Carena Prize, which asked to confront the informal. During the realization of the work I had to fight against my natural propensity to insert figurative elements (how much I wanted to insert a cloudy blue sky in the white square!). In the end I defined it with that play on words, which also characterizes some of Carena's canvases and which made it contemporary because of the theme. Can a virtue develop, from a period of pandemic, which has even forced us into prisons, more or less gilded (for some certainly very far from gold)?
Martyr
Oil on canvas 80x70, June 2022
The canvas is part of the series of my painted worlds, paintings that, among others, address an environmental issue. In this case I started from a copy of Caravaggio's painting “Salome with the head of the Baptist” (Madrid), replacing the key element of the executed prophet with half of the planet Earth, which is thus also “cut off”.
The killing of the Baptist causes, in Caravaggio's intention, horror even for the guilty protagonists, who try to distance themselves from the fruit of their work; on the other hand, each of us tries to remove from ourselves the responsibility for what is happening, in terms of reckless exploitation of the planet's resources. This responsibility instead belongs to everyone, to those who materially perpetrate the mistreatment of the planet (the executioner), to those who have decision-making power and do not find other solutions (Salome) and to those who benefit from it (Herodias).
Jellyfish
Oil on canvas 40x50, April 2022
According to Ovid, Medusa was a beautiful girl, raped by Poseidon in the temple of Athena. As an exception to female solidarity, Athena punishes Medusa by transforming her into a monster and her hair into snakes, capable of instantly petrifying anyone who looks at her. She has a good reason to scream, indeed she has two, if we consider that of three sisters she was the only mortal.
Like a goldfish
Oil on canvas 50x50, March 2022
Like a crazy goldfish confined in a glass bowl with no reference points. There is nothing he can do, not even scream.
I exist
Oil on canvas 40x40, February 2022
Series of paintings "Women who scream": a suffragette fighting for her rights.
Burned on the cross
Oil on canvas 40x50, February 2022
Emblem of the martyred woman, even in a virtual way, when she expressed self-awareness. It is part of the series of paintings "Women who scream".
I will lift you up
Oil on canvas 20x20, January 2022
Conceived for the exhibition "The care", take care, collective exhibition held at the Casa del Conte Verde in Rivoli, from 25 February to 20 March 2022. It is part of the paintings of the Covid era, because it represents the health personnel who, even at cost d being overwhelmed by the disease, they did their utmost for their patients.
A catalog of the exhibition was also created.
Christmas tree of life
Oil on ceramic 22x30 (with frame), November 2021 An old ceramic with a beautiful wooden frame, repainted in oil with the use of plaster.
In the night
Oil on paper 24x32.5, October 2021 Inspired by the works of Lorenzo Alessandri, I made this painting on Christmas-themed paper.
Maternity (The three ages of women, Klimt)
Spatula oil on 33x48 paper, October 2021 Reproduction of the detail of Klimt's work "The three ages of woman". When artistic expression is urgent, I oblige myself to use hardly modifiable materials and techniques.
Stronger than any virus
Oil on canvas 60x70, july 2021
A bond put to the test by the Covid 19 pandemic, that between grandparents and grandchildren. The former, more vulnerable and at risk of serious complications, had to give up real contact with their beloved offspring for several months. The others, in too many cases, have had to watch helplessly and remotely the illness and death of those who took care of them in the pre-Covid era. But the strength of this bond is the ability to survive, with memory, even death, and to transform the same virus into an element of union.
Free interpretation of the photo "Forever Young" by Teiho Lemaire Bennett.
Resistente
Olio su tela 60x70, luglio 2021
Il papavero simbolo della resistenza, rappresentato in una delle valli di Lanzo.
Back to the sol
Oil on canvas 50x50, April 2021
2021: 700 years after Dante's death. There are many artistic initiatives to pay homage to the Supreme Poet and I too could not resist the charm of an exhibition designed in the streets of the city of Giaveno (TO), with the collaboration of several exhibitors who have decided to participate, making their windows available. . "Di retro al sol" represents Dante's encounter with Ulysses, told in the XXVI of Hell, and despite being the Greek hero condemned to burn for eternity, for having been a fraudulent adviser, the poet highlights it the love for knowledge that distinguishes him: "Consider your seed: you were not made to live like brutes, but to follow virtue and knowledge".
In addition to this unpublished canvas, I exhibited: "Contaminated", "Builders of a new world" and "The human condition".
Born under the sign of Pisces
The Cannon Woman
Oil on paper, March 2021
One Saturday in March, I came across De Gregori's "La donna cannone" on Youtube. I started to reexcort it and it was as if I had heard it the day before, but above all I relived, vivid and present, the emotions it transmitted to me when I was a child. I identified myself with the protagonist of the song and admired her courage to conquer freedom in such a dangerous way, taking advantage of the instrument that had oppressed her until then. I don't know what was the reason why I wanted to fly away with her, but maybe she had come back to me all these years, I could have counted on her on other occasions. For this March 8, so I dedicate myself (and I dedicate to those who wish it) this small painting, because there can be many reasons to feel like a cannon woman.
Everything will be fine 3D
Wire, paper, modeling clay and acrylics, February 2021
The slogan already represented in a drawing, developed in 3d.
Teachersdosex
Ballpoint pen on A4 paper, December 2020
The drawing arises in the wake of the provocative work that Andrea Villa, the Turin Banksy, exhibited to denounce the dismissal of a teacher, victim of revenge porn by her ex boyfriend. I thought of representing a young teacher as Tiziano Vecellio's Venus of Urbino, a work considered a masterpiece of sensuality. Glasses and books characterize the image and underline what should normally be recognized and that is that a teacher or any female professional can also be a sensual lover and the dissemination of private images concerning her is not her fault, but is a crime of those who have violated their privacy.
Codice 1
It will all be fine
Ballpoint pen on A4 paper, November 2020
At a time when I don't have time to paint in oil on canvas, I have found this means to represent an idea that cannot be postponed. In the midst of the second wave of contagion from Covid19, I resumed the slogan repeated during the first wave, in spring 2020, associating it with a decidedly opposite image
No child for me
Oil on canvas 60x60, September 2020
The painting is inspired by John Steinbeck's classic American novel “Furore”.
The protagonist is a family of American farmers, forced to leave their land and travel thousands of kilometers in search of a job that can give them a living.
There is a further artistic reference in the work, as the woman reproduced is the "migrant mother" of the photos of Dorothea Lange, the American photographer who portrays the life of migrants in the 1930s, at the time of the Great Depression, who it is also the period recounted in Steinbeck's novel.
Unlike Lange's photograph, in my reproduction the woman does not hold a newborn baby to her breast, because, in the book, the hardships suffered during the journey will cause an unfortunate outcome to the pregnancy of one of the female characters. What she has left is only a sack, a symbol of the exhausting work of seasonal collectors.
The work was included in the exhibition at the Belgravia bookshop in Turin, from 18 October to 15 November 2020, "When art meets reading" within the international review IlMaggioDeiLibri
The words I haven't told you yet
Oil on canvas 60x70, July 2020 The painting wants to symbolize the difficulty of human communication, even if it leaves open an important possibility: that of writing. It was born following a call from the association "Il cielo capovolto", but in the publication that followed, "Writing of love, letters from a modern past", only the text was published.
2020 (what remains)
Oil on canvas 80x80, July 2020
This painting is the result of a reworking of a canvas previously painted twice. In both cases, the result did not satisfy me, so, after months, I began to remove with the spatula the most superficial layer of color which, in a completely unexpected way, freed the underlying color. Proceeding in a less casual way, I obtained an image that began to acquire an aesthetic and then conceptual sense, when a friend wrote me that for her it represented the period of chaos, post lockdown due to covid 19, that we were experiencing. In fact, I can't ignore those strange spherical figures that appear, always from the lower layer, and that somehow reminded me of the structure of the virus (I don't know what I wanted to paint in an era when such a pandemic could only be the plot of a movie). The title came accordingly: "2020 (what remains)".
I kept the scraps of color removed, because I thought the canvas could also be exhibited as an installation.
Beware of the crown
Mixed media on canvas 60x70, June 2020
In 1988 Keith Haring dedicated the work "A Pile of Crowns for Jean Micheal Basquiat" to his friend Basquiat, with which he tried to warn him of the dangers of drugs and at the same time pointed him out as King among contemporary artists (the crowns represented). Unfortunately Basquiat died that same year.
I could not resist the images of those falling crowns and that danger signal and I used them to convey my personal message, linked to the current period. Phase 3 with us, full pandemic in many parts of the world, worrying outbreak in Beijing.
Paraphrasing Keith Haring, therefore, "Beware of the crown".
In July 2021, I changed the background color from yellow to black Codice 8
The dawn of a new world
Oil on canvas 60x70, April 2020
With this work I looked at the post-pandemic period, when, free from the covid, we will be able to abandon the mask. I wanted to pay homage to the Chinese people, representing this geographical region of the Earth, for the suffering they have had to face along with the accusations from the rest of the world.
The Earth, in a geocentric view, is rising on a sea awash with color. I have never believed in "# everything will be fine", but I think that in any way we will have to overcome the health and economic crisis, hoping to change the previous exploitation behaviors of animals that contributed to the spread of the virus among the human population.
The painting was published in the collection "Tales at the time of contagion" published by the cultural association Il cielo Capovolto (November 2020).
Lockdown rooms
Oil on cardboard and wood 58x53, May 2020
In which rooms did you experience this lockdown? What size were they, what colors on the walls? Above all: what emotions were able to make you perceive, what was your mood? Were you serene? Did you feel safe? Were you surrounded by love and affection? Or has restlessness taken over? Or worse still fear and a sense of claustrophobia? Maybe you have experienced all these emotions at different times ...
And now are you prepared to go out "without justification"? Are you ready to leave your refuge?
The work also reflects in the support the limitations we experienced, because it was made with materials that I had at home, when I finished the canvases. The four cards were joined using the frame of an old broken canvas. At the beginning it should have served only as a support in the back, but then once I approached the cards I realized that it should have a leading role in the scenography of the work, creating an important dividing element on a visual level between the inside (the rooms ) and the outside (the sky and the green of the meadows).
Anthropocene
Oil on canvas 60x60, April 2020.
The canvas was created for a collection of texts and images entitled "The Blue Planet", fourth edition, published free of charge as an e-book, thanks to GoArtFactory. The release coincided with the 50th Earth Day, April 22. The image was inspired by a poem contained in the same collection entitled "Our world" and wants to represent the contrast between the beauty of nature and our inability to preserve it.
I nodded-laments
Oil and sand on canvas 50x50, March 2020.
I started it a few weeks ago, before the coronavirus era. I thought it was inspired by the opening of the Antonio Carena House-Museum, my fellow citizen. I was thinking of Australia, as you can see. I thought of all living beings who have lost their lives. And always inspired by Carena, I played like him with the words for the title.
Builders of a New World
Oil on canvas 60x60, January 2020.
I decided to start the new year with a canvas full of hope. I had the opportunity by participating in the Lego event, held in Grugliasco (TO) this weekend, as an artist of the Go Art Factory association. I was inspired by Nathan Sawaya, the Lego artist, and by Felice Casorati. Thus was born another canvas with another world, but in a home setting.
Contaminated
Oil on canvas 80x60, November 2019.
Designed for the collective exhibition "AbbracciAMOci", held at the Mauritian hospital in Turin from 9 to 23 December 2019, thanks to the Go art Factory association.
In addition to "telling" the concept of Hugging and Loving in a more extended way, the canvas questions the possibility of being contaminated by Nature, overturning what unfortunately constantly happens.
In February 2021, I wrote a text for the radio show "Il Buongiorno" by radio ICC WEB, which you can read here.
Shipwreck
Oil on cardboard 26x35, October 2019.
The Coast Guard has spared us the most impressive images of the last of the migrant shipwrecks, but we have a duty to imagine.
Land!
Oil on cardboard 35x26, August 2019.
What do the Bis Security Decree and the anniversary of the moon landing have in common? The idea that some men have been, are and may be very distant from their possibility of salvation. It remains to be clarified who among the astronauts and migrants "is going to look for it".
Earth is the Future
Oil on cardboard 35x26, August 2019.
On the occasion of the 50th anniversary of the moon landing, July 20, I began to think about space exploration, research, work, dangers and courage and I came to the conclusion that nothing makes sense, if it does not have as its main motivation and purpose safeguarding the Earth. What we will say to posterity: we have destroyed the beautiful green and blue planet because we have not worked hard enough to prevent it, but, rest assured !, we have reached the skills to build a large marquee on the red planet.
Game over
Oil on canvas 80x60, July 2019.
We are on the verge of a change. We can still decide whether to be its creators or to suffer it. In any case we must pass the baton to a New Man, who is more respectful of Life on Earth and can play his new game.
The canvas participates in the Enegan Art 2019 competition on the theme of R-Evolution.
The human condition
Oil on canvas 40x30, April 2019.
A small canvas for a great concept: the human impossibility of achieving what one yearns for.
The canvas represented Silvano Zecchin's poetry at the exhibition from 4 to 17 May 2019 at Ricetto di Almese (TO), a poem entitled "The silence of life".
It was also exhibited at the Burnia in Avigliana from 26 September to 28 November 2019.
At the entrance to the world
Oil on canvas 80x100, April 2019.
The work was inspired by the exhibition "Posing dogs", running until May 19, 2019 at the Reggia di Venaria (TO). Greyhounds are the dog breed most present in the paintings that represent life in the various European courts and the exploitation that is perpetrated even today is incredible. An exploitation linked to a gratuitous cruelty, as only the human being can inflict.
My Linda comes from a perrera (the Spanish kennel) where she was about to be put down. She was only two years old when I had decided that it would no longer be useful: who knows, perhaps smaller than average, perhaps too scared to fight for the prey.
I had already portrayed her in "Stargate" (Magic Cities), but in this painting I wanted to give her a leading role, as a guardian of the whole world, imagining that thanks to her sensitivity and kindness, she can still be able to save us from Bad that we carry inside.
Eros and Thanatos
Oil on canvas 80x80, January 2019.
I created this work for the Oxymoron exhibition of the same title. In a first moment in it were represented two classical figures, like Greek statues, one that blows lifeblood on the World and the other that aspires the Life; subsequently, towards the end of 2020, I substantially changed the content, replacing the human figures with astronomical elements.
Last spasms
Oil on black cardboard, diameter 50 cm, February 2019.
The white and red and the silhouette of a bleeding tree to represent the suffering to which we are subjecting our Earth, without understanding that the real victims will be the human species.
Withered
Oil and chalk on canvas, 80x60, October 2018.
Born to "talk" about violence against women, this canvas then evolved into a sort of parallelism between (physical and psychological) violence against women and the mistreatment of planet Earth.
The physical and spicological wounds caused to the woman are represented by a palette knife that breaks the linearity, accentuated by a gray scale; the Earth is losing the water that sustains Life and it is also losing it with the death of the oceans, asphyxiated by pollution.
The woman is inspired by a nude painted by the German painter Christian Schad.
Stone by stone
Oil, chalk and sand on canvas 50x70, August 2018.
Present on Saatchi Art at the following link .
The painting was exhibited in September 2018 at the Ossimoro Art gallery in Turin, in relation to the collective exhibition "Concreta spititualità". It was born as a tribute to all the unskilled workers, slaves or free sacrifice (sometimes even extreme) to create monumental religious or secular works, cathedrals or castles, which we can still admire today. Each of those stones, the concrete part of the building, is imbued with the spirituality of the man who raised it.
Indifference
Oil on canvas 80x60, July 2018.
Presented at the Energan Art 2018 competition on the theme of indifference.
The part of wealthy humanity that wastes and creates garbage and who, casually, irremediably dirty the planet. The weaker, "smaller" part that tries to remedy it.
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Bullfighting (homage to Lamborghini)
Oil and sand on canvas 80x60, June 2018.
The painting was created for a competition organized by Lamborghini. I tried to pay homage to the automaker with a surrealistic depiction of the bullfight. It is not a real battle because the car and the bull have the same strength, the second being the symbol of the first.
It is metaphorically the celebration of the peaceful coexistence between man and nature.
Private collection.
The weight of thoughts
Oil on canvas 60x60, April 2018.
Available on the Saatchi Art online art gallery at the following link .
Dedicated to our kids and to us who are unable to ease their young worries.
8th of March
Oil on canvas 70x100, March 2018.
From April 2018 present in the Saatchi Art online gallery at the following link .
“Women have always had to fight doubly. They have always had to carry two burdens, the private one and the social one. Women are the backbone of society. "Rita Levi Montalcini.
Water dust
Oil and sand on canvas 50x100, December 2017.
Exhibited at the Flyer Art Port of Rome gallery, Civitavecchia, from 23 February to 27 March 2018.
From May 2018 present on the Saatchi Art online gallery at the following link .
Floods, water bombs, overflows ... and yet there is nothing left but sand ...
Social light
Oil and plaster on canvas 35x50, October 2017
From April 2018 present on the Saatchi Art online art gallery at the following link
The double nature of light: waves and corpuscles. In this case, even a bit of information and a bit of idiocy.
April 2019, the canvas was "completed" with a wooden frame painted with enamel, which became an integral part of the work, simulating the bars of a prison.
All for the participation in the Artddiction-Paratissima 2019 competition, inherent to "addictions" of whatever nature they are. "Social Light" has thus become the representation of the pathological addiction to virtual life, created by social networks.
The wait
Oil and chalk on canvas 80x80, September 2017
Once your chances of intervening in the course of events run out, waiting for what will happen makes you unable to act. The thought is turned only to what is in the making, to what "will come out" and time seems to have stopped.
Clouds on the horizon, good and evil competing for the paternity of the future.
Exhibited at the premises of the cultural association "Circuiti Dinamici" in Milan from 12 November to 1 December 2017, in line with the collective exhibition Spazi Transitori.
Exhibited at "Piazza dell'Arte" Turin in June 2018.
Exhibited at the Auditorium at the Duomo of Florence in September 2018.
Different and the same
Oil on canvas 30x30, September 2017.
The color of the skin is a palette of colors and the meeting between two people becomes a protective gesture.
Private collection
On the heels
Oil and plaster on plywood 55x61, March 2017
Being a woman implies facing the adversities of the world on the precarious balance of a pair of stiletto heels.
Exhibited at La Burnia until May 2017
The text written by my daughter Silvia is from July 2017:
Border line
Oil, steel wire and newspaper on canvas 100x70, April 2017
On display on 28 and 29 October 2017 at the exhibition hall of the Isabella Cultural Center in Turin, thanks to the Italian Art in theWorld association.
From May 2018 present on the Saatchi Art online gallery at the following link .
Fear makes us create borders, build walls, stretch barbed wire.
Fear can turn into hatred, which becomes food for our children.
Return to sender
Oil on panel 84x 29, 1 January 2015
Surrounded by all this evil, we would like to go back to the origins, to be able to start over. We could try to return the fruit symbolizing the loss of innocence to those who convinced us to eat it.
Return to sender 2016
Oil on canvas 100x80, September 2016.
From April 2018 present in the Saatchi Art online gallery at the following link .
The concept of restitution of the symbol at the origin of all evils is enriched by the anger of those who are aware of having been deceived.
January - March 2017 exhibited at La Burnia, Avigliana.
March 2018, virtually present at the Artbox Projects gallery, New York
Condemned
Oil on canvas 50x40, October 2015.
From April 2018 present in the Saatchi Art online gallery at the following link .
A bomb dropped in a war territory, far from our quiet life. A doomed girl: she mistook the bomb for a game. But on closer inspection, the bomb is the Earth and the little victim turns into the executioner of the rest of mankind.
Who then is really condemned her?
Exhibited at "Piazza dell'Arte" Turin in June 2018
Condemned 2016
Oil on canvas 120x150, June 2016
A larger dimension and a more courageous point of view to express the concept of double condemnation with more force.
There are no more children, they are evanescent on the left. The girl in the middle is too old to play: she knows exactly what she is about to do.
The current version, with the more distant child, is from April 2021.
The artist's refuge
Oil on canvas 87x107, January 2016
A moment of despair and the canvas becomes a safe place to take refuge.
Exhibited at the Burnia in Avigliana from 25 May to 29 June 2017.
