Looking at these pages you will inevitably compare myself with the artists you are familiar with, but your judgment won’t be filtered by experts or obliging testimonials. Indeed, I ask you to judge me from the strength of the roots rather than the brightness of the leaves.
I think the artist is the son of the air he breathes and the events that carry him in an unmanned cockpit, in the same way I am convinced that artists as talented as Mozart, Leonardo and many others have been buried by the silence of history.
Imagine potential artists trapped in outcast villages, anonymous craftsmen devoured by an ever-expressed genius or artists drowned by some idiots (such as gallery owners, art critics, even their parents ...) who distractedly established their destiny.
If you think about women then, you have to admit that half of human intelligence and creativity has been ignored for centuries, with some rare exceptions.
I walked the world's paths alone (this is false: many people supported me selflessly ...) sometimes emerging from the pond, where I was groping and looking for oxygen, with many other adventure companions.
If it is true that those who habitually swim against the flow can cross the sea, there are those who may be deluded to swim in the warm embrace of their bathtub or counting on those who swim for him… They may be persuaded to think they are on the finish line, but in fact they never left their shelter.
When the Supreme colored the universe of his unheard color and played with mud, molding our ancestors, he also conceived those like me, unable to decipher the vital breath to our fragile and dead creatures.
Your gaze could indeed revive them, as happens sometimes when art is overwhelming and communicative.
The artist is a gift for himself and for the community: a gift that is uncomfortable or relished depending on the circumstances, because it demands too many attentions to be really useful.
Also, the artist is often a prophet of his own because he reads the story feeling the breath of the world under his skin.
"Art is so useless that we couldn’t do less about it ..." (Oscar Wilde).
I carry out my business in Musano (Treviso) where I was born in 1945.
After Classical Maturity, I graduated from Libera Accademia Artisti Associati in Milan (with Professors Mosca and Albertarelli), graduating in Arts Literature at the University of Padua (Bettini, Pallucchini, Formaggio and Thesis with Prof. Apollonio).
Early expositions were settled in Treviso from 1965 until the exhibition in Turin and London in 1969: here I have opened my eyes to the world of contemporary culture, in the strenuous climate of the Beatles years and emerging modes.
After my marriage and graduation in 1970, I raised my consciousness with a really customized painting that was achieved in Asiago with the management of a seasonal gallery, from the vacant time from the teaching of letters.
Asiago enjoyed an enviable national and foreign clientele who introduced me to characters such as Mario Rigoni Stern, Olmi, Celentano and his group, the "beautiful people" Brianzola, Rumor (then President of the Council) who convinced Ambassador Ugo Bicego to offer me an exhibition at the United Nations (which I have refused, since I knowledge my own limits) and at the Grand Palais in Paris at the invitation of M. Benketira, President of Unesco.
My desire to follow the growth of my two children, Manuel and Sara, led me to leave the Gallery at the most successful time, allowing me to renovate the paternal home from the foundations with the opening of the studio still in operation.
My refusal to serve merchant structures, after the alternate fortunes with the Abba Gallery of Brescia and the Gallery SK in Puglia, led me to an alternative path, opposite to the prestigious galleries and the Art Fairs, but I was left without the support of the Critics and merchants, like Mario Russo of the Barcaccia (which I think, wrongly or rightly, is not in line with my way of thinking).
That is why, alongside a strong, often violent painting, consistent with the great social demands, I began to cultivate a niche dedicated to sacred art and monumental techniques: an open war against the modes of negation of the figurative, practically 20 years of voluntary eclipsing.
As an artist, I express myself in all the main pictorial and graphic techniques with a preference for the figure: for my artistic and didactic activity, Rizzoli-F.lli Fabbri Editori has commissioned me to produce a series of 13 dossiers and some dissemination volumes on drawing and painting.
For many years I have been a testimonial of Ferrario spa, the oldest Italian factory of fine arts products: I was able to paint and demonstrate the versatility of the next generation colors at the great fairs in Milan, Rome and Frankfurt, or in the Brera Academies, Antwerp, Moscow and Almaty with the support of a valid chemical laboratory.
To paint in the solitude of a study the great canvases to be placed on the vaults and on the walls of the churches (also large tens of square meters), entails the need for oxygenation with the teaching and with avid people of culture who often go along exhibitions and Art events of our cities.
While avoiding competitions (only a couple of top national prizes in the '70s), I have always been the curator for my exhibitions, especially in the icon cities of art movements: since 1965 I exhibited in Italy and abroad with over 300 exhibitions Collective and personal in galleries, historic villas and museums including:
Treviso, Turin, Venice, Brescia, London, Milan, Paris (in the historic Galerie Bernheim, the Grand Palais and Salon des Nations), the Levante Fair in Bari and Udine, Rome, Taranto, Trieste, Udine, Reggio Emilia and Caracas, Merida, Ciudad Guyana, New York (Planet Studio, Stendhal Gallery and NY University), Toronto, Düsseldorf, Imperia, San Remo, La Spezia, Victoria and La Valletta (Malta) ... etc.
For about fifteen years, the Historic Villas have been privileged - not the Galleries - (Palazzo Roberti, Villa Benzi -Zecchini, Villa Onigo, Villa Emo ...) that allowed me to host conferences and concerts; or the large environments close to the great Basilicas, such as the exhibition of Rome to the SS. Apostles and S. Andrea della Valle.
The ability to travel and keep in touch with the widest audience allows me to maintain a good level of public relationships. The core of my work is constantly researching and experimenting with new-generation techniques and colors, applied in frescoes, murals, trompe l'oeil, made in classical or modern style, for churches, villas and civil environments.
I can count on a lot of breathtaking work in about fifty churches and prestigious private locations, but I find more relevant my frescoes in the Basilica and the Monastery of Montecassino (2004) or those in the Benedictine Monastery of St. John the Evangelist in Rome.
I also have to mention the Times of Cello del Montello, Pezzan d'Istrana, Castelminio (TV), S. Maria delle Grazie of Marano Lagunare (UD) in addition to the grandiose canvases of the transept in the Basilica of S. Andrea della Valle in Rome: Decisive professional reference.
Two grandiose frescoes and one oil painting on S. Benedetto (57 canopies for 404 sq. M.) Are currently under study and design, as well as some churches between Rome, Catanzaro and Madrid.
A narration as a portraitist: the monumental portrayal of Benedict XVI in the Presidential Palace of Malta and the portraits of the last popes in the Sacristy of the Basilica of St. John Lateran in Rome.