My techniques are very material and the main ones, I use are the following: Plaster, ChromoLife, ChromoLabCapri and Shadow.


This technique is PLASTER, because I use alabastrine plaster, dyes, glue and water making it all a kind of mortar that I spread out on the picture and work with my hands creating smooth or corrugated surfaces based on the processing of the material itself. The result is a work at the bottom soft, relief to the touch,almost velvety with curved and smooth lines, this allows me to create a basic design that will then be painted.

It is an almost childish elementary work that gives me a feeling of belonging to the work itself. I compose the material with my energy and my sensitivity, giving me the opportunity to express myself with three-dimensional drawings that can be abstract or realistic.

A sort of sculpture in low relief that can not be detailed in detail but that remains deliberately coarse in the forms, sweet reference to a childhood that we all share.

Sometimes, I use spatulas of various sizes, to create incisions or grooves that rigidly break the softness of the context, creating a breaking effect often highlighted by primary colors (red, black, white, etc.). All this to highlight the simple complexity of my inner world as joyous as that of a child and sometimes dark and edgy, like that of an adult wounded by life.

The Plaster technique creates the foundations of a work that is often elaborated by the colors, but not always the reliefs of the plaster are painted and the grooves filled with glazes or powders to increase the three-dimensional effect and create a more accentuated kaleidoscopic effect.

An example reproduced below is "The flaming dance of the sun".


I call this ChromoLife, because I use the colors in a certain amount and pour them on top of each other directly on the panel, that I normally prepare, by painting it with a base color.

These, being poured, do not mix with each other but maintain their own individuality, each of them has its own life and a different character given by liquidity or viscosity for different degree of absorption more or less fast on the panel.

These different characteristics of the various colors used and of the various alternations between more or less fluid colors, create always new and always different color games.

The picture as long as it is fresh is alive, it is changeable it plays hide and seek with you, changes it evolves transforms the basic design into something different. The painting absorbs one color by including it in the other and when I spread metal powders of various colors, the color changes expression being in front of small or large obstacles, it creates streams, currents or stagnations as if they were the delta of a small river, making suddenly bloom a white or red or yellow, from a black or a blue, creating landscapes of fantastic worlds. All this is fabulous because it gives  a sense of continuous discovery and uncertainty until the final moment when the picture is ready.

Obviously this is not an immediate technique, the work is long, even more than a week from the general setting to see the result, which is often very different from the original, the whole is unpredictable, circles of color are broken and fragments brought to the drift further.

All played on the thousand variables dictated by the subterranean or superficial movement of the various paintings, on the basis of imperceptible but substantial changes, due to the porosity of the wood or the inclination of the painting.

The effect is made even more evident by using thin metallic powders which, remaining on the surface, tend to dispose along the current creating strange effects of accumulation.


ChromoLabCapri was born from an artistic collaboration with the Capri Laboratorio Capri by Michele Esposito, Thanks to their style, we have, the limited edition scarves  made on the design of "The Net".ChromoLabCapri is an evolution of ChromoLife.  On the panel, after the base color, some scraps of Capri fabrics are applied, (they come from the Laboratorio Capri).

The insertion of these fabrics gives the work a particular turn-around because the fabric itself with its texture, thickness and quality becomes an obstacle and filter for the color itself, creating an effect of spacing and containment of the same. The edge of thicker fabrics, wrinkling, creates "scars" in relief, as the strange mountain  that mark the painting.

The colors and designs of the Capri fabrics also become a reason for discontinuity in the work itself, emerging in transparency, in the color; thus creating spaces defined, with definite designs compared to the surrounding chaos.


This technique refers to the history of Street Art. I use the cans to make funds and on the same funds, I use masks (stencils) and I create two-dimensional worlds. Using various colors superimposed in later stages, I can make drawings, with different layers and shades.In this case, my beloved little fish and the world around them become shadows of reality itself. Shadow from there, is, the name of the technique.An example of this is the "Bovi" painting, reproduced below, made with two panels 80x80, yellow background and a series of oxen and minnows painted and processed with the Shadow technique.