1969 / 1975
1975 / 1977
1978 / 1982
1984 / 1988
1988 / 1992
1992 / 1997
1998 / 1999
don't represent anything, I paint.
I don't have time to finish my works. I cannat spread the paint adl the way to the end of the canvas, because in the meantime, life has moved on.
The same difference between line and color is illusory, because it depends only on the width of the brush and on the way it rests against the canvas.
Painting is; if anything, . my limit, my incapacity to do anything else.
Painting should be considered neither privileged nor reductive with regard to other means.
....I don't consider the canvas a complete and definitive space, it is a physical fragment, for evident reasons of practicality, it is a physical fragment of a discontinuous, indefinite and expanding space, so its organization in complete fashion would not be conceivable.
.... and if the unconscious is the limit of memory, isn't there perhaps a work space right on the edge of this limit, where relationships no longer exist; or better, don't exist yet, representation?
Silence, concentration and absence, absence as concentration on what occurs in the canvas rather than according to my wishes.
30, 000 years of memory run through the pages of history.
(1984) Oblivion is a place of memory, provided that one has something to forget.
Every small sign has its dawn and its dusk, it begins and ends, and in its brief life traverses a glimpse of the immense movement of the world... every mark in some way constitutes my cvlumns of Hercules, which shift from time to time to the subsequent mark, and from one work to another.
... here too, the unknown continues to wander, among signs. The columns of Hercules, place of fracture, separation, boundary, become the juncture place of doing, shifting from west to east. From the place where the sun sets to that where it rises.
One sign after another, where the word "after".signifies both the next time and the next space.
... it is correct that this painting represents itself, its making rather than its capacities for evocation, which nonetheless happily remain inevitable.
da Pittura Italiana - Italian Painting
Castello di Rivoli - Museo d'Arte Contemporanea Torino
Ed Charta - Milano 1997