I define my style as analytical-compositional: union of figurative (what exists and what I see, or the memory of something I saw) and abstract (i.e. the parallel reality that is created in my head at the very moment I see or think about this something). I register and analyze what I see/remember and what I consequently think, trying to spread this double real/abstract path on the same plane. My lines are “quivering”, precisely because they are fished out straight of a memory that is not clear to me: “Uncertain lines and loose geometries”, that’s how I define that stroke of mine in which I enclose all the abstract, impalpable and temporary things that happen in and to the subjects that I investigate. I have also been tattooing handpoke since 2014. The first time I got tattooed I immediately understood that by joining the points on my skin I could create a line, and from there I realized that I had just known a new mean of expression. I then realized that the handpoke was for me a very profound technique that applied to me: calm, slow and natural because it follows my rhythm, a rhythm given by a human movement, not a mechanical one, in which I can find my time (necessary to focus on every single point), which also becomes the time of who I am tattooing. This time gives more importance to the tattoo process than to the tattoo itself, and for this reason tattooing for me is a performative and not merely a “pictorial” practice.
I define my style as analytical-compositional: union of figurative (what exists and what I see, or the memory of something I saw) and abstract (i.e. the parallel reality that is created in my head at the very moment I see or think about this something). I register and analyze what I see/remember and what I consequently think, trying to spread this double real/abstract path on the same plane.
My lines are “quivering”, precisely because they are fished out straight of a memory that is not clear to me: “Uncertain lines and loose geometries”, that’s how I define that stroke of mine in which I enclose all the abstract, impalpable and temporary things that happen in and to the subjects that I investigate.
I have also been tattooing handpoke since 2014. The first time I got tattooed I immediately understood that by joining the points on my skin I could create a line, and from there I realized that I had just known a new mean of expression. I then realized that the handpoke was for me a very profound technique that applied to me: calm, slow and natural because it follows my rhythm, a rhythm given by a human movement, not a mechanical one, in which I can find my time (necessary to focus on every single point), which also becomes the time of who I am tattooing. This time gives more importance to the tattoo process than to the tattoo itself, and for this reason tattooing for me is a performative and not merely a “pictorial” practice.
