The need to know the fresco painting technique led me to the research one its materials and the way I could use it contemporarilly.
The impact of Botticelli's portrait at Capella Brancacci by Fillipino Lippi, made me have a second moment after my previous project and I started to be more aware of my own body.
From then on I started to use my own body as a model and as mould itself, transposing it to the painting in real and not through observation. The legs and parts of the body moving are marks left by my real body, and not only images or illusions. From this painting on, I started to cut the support into parts and glue them, creating some relief. My synthetic fresco technique became a fresco collage.
