My artistic production has definitively converted to folk art and the humble, instinctive, and simplified representation of life and work.
My figures are simple, stereotyped, and often repeated as modules, aiming to exalt their intimate symbolic meaning, for immediate and direct communication with the viewer (i.e. with a direct reference meaning, allegorical meaning of medieval miniatures, just to mention one of the sources to which I am indebted
Excessive realism runs the risk of leading toward an apologia, an exaltation of complex, difficult conditions of life and work, which, on the contrary, are too often narrated as idealized and sublimated (I refer, for example, to peasant culture).
The large hands, the main tool of hard, strenuous work, force the figures into a general dysmorphism, which breaks all rules of anatomical and compositional proportion and which recalls the Naif experience, in a context of perspective and compositional simplification.
The clothing refers to specific historical periods only in some cases and for small details, while all the tools and implements are faithfully reproduced, taken from the endless bibliography and iconography available.
Finally, the drapery has the task of giving final form to the figures; static figures, often almost in a photographic pose, so that each viewer, in that intimate dialogue with the work, chooses and “snaps” his or her favorite frame.