[…] I congratulate myself with you as I find your works of art interesting and intriguing in addition to them being full of cultural references and underlying meaning. Your artwork is cultured and clearly derives from surrealist and hermetic symbolism.
I believe furthermore that you have seen in surrealism a sort of reclaim and amend to the symbolist poetry: reclaim as it manifest shape in an alluding manner and not explicitly; amend as it eliminates from the formal symbol, any kind of spiritual implication.
You abstain from explicit images; you follow structured paths with returns and accelerations conscious of the weaknesses of the movement of the soul. Apart from the image, the existence of an internal structure which manifests through signs can be gathered.
The artworks express a strong surrealistic poetry with a gratification for impossible associations, mysteriously motivated. Images only dreamt of through which the absurdity of commonplaces can be discovered; images of mysterious meaning where the light and bold colour, without any sfumato, identify strength and personality.
In the painting Giano Bifronte I see the main figure as a symbol of duality: the image of the two-faced god that looks in opposite directions separating thus past from future. The ambiguous figure representing a symmetrical element in an allusive and not explicit game – the conscious and sub-conscious-. After all the divinity designated to govern doors and bridges more generally represented a sort of passage way and transition, like the antithesis between life and death.
Your art piece represents, in my interpretation, the contrast between dream and reality, the absurdity of the ordinary.
The paintings Allegoria della lussuria and La Misericordia; in the first a duality emerges in which Dante identifies lust with the lynx and represents it as a latent energy that grasps and overcomes. La Misericordia (or otherwise the forgiveness) on the other hand, takes on an ascending shape, as if it were an accelerated pyramidal escape.
For the art piece Fantasia di ventagli, I believe the influence is from the Dada artistic movement as the static images of the fans destroy the object’s same function, being this a dear theme to Dadaism.
Architect Aldo Imer – Art expert
Naples, July 2015