“ I am an impressionist, intentional, vitalist painter. I have the deliberate attitude of the impressionists even if I have the instinct of the action painter. Each line is, therefore, a real experience with its unique history. It does not illustrate instead the perception of its implementation. My attention is directed to the pleasures that spring from impressions, sensations, perception, body, and intellect.
The impression is that which moves the senses and the body of those who have imaginative capacity in immanent immediacy (Sartre, Bergson, Baumgarten). You can come to think of the reaction to an image with open arms with a jump because you cannot get from the material without a jump and vice versa because the artist can get lost in his work (Shelling), also because an image determines a kinesthetic movement.
With Impressionism, the origin of abstract painting, the first dissolution of the figuration occurs, but not the demise of its aesthetics. For this, we must wait for the next phase that I called from the abstract to the possible and that begins with the liberation from all the aesthetics of the past. An aesthetic art of consciousness seeks to replace an aesthetic conscience of art through impression. Painting the appearance, as we actually see it, not as conventionally we are forced to see it, as we pass it, moves the impressionists and pushes the viewer to see again and with increased sensitivity this first level of estrangement. The image offered allows him, not without exceeding it, to get lost in the illusion of the landscape, of the event or of everyday life, he transfers it to the imaginary reality, not so to speak, without dwelling in it and realizing it through painting. The landscape does not open up to him, rather he closes it. It manifests itself more and more for what it is: the appearance on the surface."
This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist