Impressions are born as works free from the magic of the creative moment which, on landscape sonorities or social scents, recall the homonymous great season of early modern painting.
Nature appears in an abstract dimension in which the colors conform to the colors of deep lithological erosions, as well as to the colors of inner vibrations. The work Volo sui Calanchi is treated in the freshness of the objective impression, where the moment of observation is translated with perceptive immediacy. The Affanni triptych is made up of consonant elements in form and interacting in the tonal harmony of color. The work also evokes impressionist emotions, where the tiles appear as tangible brushstrokes.
Correlations, on the other hand, spring from poetic memories and existential experiences, turning to a landscape past and to a reality of rural life still pulsating in the memory of our origins. The works, elaborated in the golden section, are a hymn to the inhabited and lived spaces of yesterday with aesthetic metaphors paired by two consonants for thematic analogies or for agreements of thought.