To begin with, I would use the adjective “detailed” to describe my work and also myself as an artist.
In fact, I have a profound passion in observing the details of a scene; to me, they are the most important components. My images are constructed by details, without them these images become innocuous, no longer interesting to look at and observe. I truly want the viewer to get lost in the details depicted in my work, the same way I did when I was making it. I want the viewer to take the time to approach the painting and look closely; my paintings are relatively small in order to conserve the intimacy and quietness of the detail. I appreciate this delicate quietness in my work that I see through the subtle touch of cobalt blue and cadmium green in a dull warm area.
From this passion results my photorealistic work, where my process and technique take a crucial role. My main medium is oil paint on stretched canvas. Admiring Vermeer’s technique, I paint small strokes with the aim of capturing every variation of the scene’s light, color and edges. These variations create the atmosphere of the work and the emotion that arise from it, so like a scientist, I am careful with the ratio of the colors in my palette, the density of the paint for the lighting and in controlling the sharpness of the edges.
Furthermore, the imagery of my paintings refers to the photographs I take of my everyday actions and surroundings; a sort of intrusion or almost stalking on my own life, the way Sophie Calle does it with strangers. They depict domestic interior scenes and mostly display the banal or sometimes even the irrelevant moments of our quotidian as a manner to combine the concept of voyeurism and intimacy together. For this reason, I believe that my paintings have a certain austerity in the familiar that they portray.
Finally, I always had an active engagement in representing, through my artwork, the women’s condition in our contemporary world. It is my take on feminism by criticizing how the male gaze and our consumer society in general shaped our subconscious on women’s identity and role. I especially want to draw the attention to how women are valued in society to be looked at and more importantly as a sensual and appetizing object. Therefore, influenced by Barbara Kruger, I recently experimented with my work by juxtaposing bold flat typography and common capitalistic, pop culture imagery with my paintings to interrupt their harmony and so deliver frontally my statement.