I have always considered my paintings as children ... and as every painter I have always been very jealous. I found myself painting sights, landscapes, people etc. and then covering the finished paintings with a cloth and hiding them in the darkest and most hidden corner of my lab. In the beginning, perhaps, the satisfaction was a lot, but looking at them after a while left me indifferent. I found them there as I had left them, sterile, inert, dead.

Everything changed when I found out to become a father ... Month after month I saw this creature growing in mother's womb, hidden from the world, secretly and then I reflected. That was the vitality I wanted to find in my paintings. But how to reproduce it?

The idea came to me by looking at a painting made by Cimabue. It is a work done with experimental techniques: the white lead, blended with oxygen-filled materials had oxidized and then optic white had become black and instead the black carbonates had been whitened. The yield is that of a negative painting. I thought how good it would have been to see him grow over the years and escape the author's control.

Then I studied the oxidation of metallic materials. Indeed the paintings changed over time through processes of slow combustion and therefore destruction of matter. The colors that could be created over time were easily definable: from copper to green, from iron to red and brown, from lead to white and so on.

The yield however was fairly easy and easy to predict and the vitality of the painting was lacking.

The next step is "happened" with the purchase of a cheap, liquid gauche: I did not have anything at home except flour and so I used it as thickener. In the following weeks, a wonderfully unexpected green has emerged. It was moldy ...

Working with molds gives me the chance to challenge each time because trying to get a certain color is more difficult. It is necessary to learn about the different types of molds, the substrates they need to grow and affect their color. As I said, the flour molds create marvelous emerald shades that over time blend with ocher and yellow. The yeasts of some fruits bear blue and purple veins. Those dairy products can range from green to green and sometimes also brown and orange. The degree of air humidity and also the type of oils used as binders create different growth rates.

So painting is no longer static, but it becomes a pedagogical work and an educational research. The author thus becomes a tutor and guarantor of the painting, which thus embodies the worthy role of the child.

Every time I fall in love with them and I am proud of them because they show me new faces of their character, they show me unexpected shades, new colors and shapes that weren't until a few weeks ago.

The work then is alive and decides for itself, I can only try to show him the way I wanted to take.