The work "Love" abstractly represents the fundamental driving force of existence. Love is a biological need for connection, an emotional drive to care for others, and, more broadly, the force that gives meaning to life. On an evolutionary and neurobiological level, it is an attachment mechanism rooted in the brain and satisfies the fundamental need for security, warmth, and empathy. Love pushes us to transcend our selfishness to understand the suffering of others and rejoice in shared happiness.
The creation of abstract and minute images is a combination of small pieces similar to mosaics and stones, to ancient symbols, to traces of writing or ancestral representations, to unusual lines, to colors and volumes created instantly. This, unlike gestural abstraction based on the transposition of spontaneous emotions, identifies my instant formal abstraction as an ordered, structured representation, with a compositional balance that makes sense on its own, ignoring the real context or reducing it to the essential created in the moment of the painting gesture. My composition is not planned in advance, even if conceived in large parts; it is precise and sometimes decorative; it aims at a harmony similar to that of music, in which creations made in the moment are inserted, as happens with melodic lines created instantly over the harmonic structures of jazz music pieces. Thus arises a new visual reality where perceptual elements such as shapes, colors, textures, and compositions are emphasized, rather than a narrative, psychological, or historical meaning. The narrative is sometimes made explicit in the idea of written communication that underlies our historicity. In summary, this expressive form transforms reality into a conceptual language of pure form and color, seeking the essence through the union of the compositional balance of the structure created spontaneously at the moment, with undefined times of realization and with the emotion of the unplanned creative gesture, an immediate impulse carried out in very varied ways and such as to favor the pure expression of the instinctual part. The focus of the creative act is simultaneously on formal quality and on the spontaneity of the pictorial act. The representation of recognizable objects is accidental, coming to intersect rational thought and suggestion, revealing almost magically an autonomous visual language.
