STITCHING DROPS

My aim is to mimic pictorial accidents, or occurrences, by replacing altogether the most fundamental medium; in my paintings, in fact, there is no trace of paint yet its presence is still traceable. The explanation to this lies in the long process of combining and then eliminating, one by one, all the media involved in my work at a particular moment in time, until paint itself was no longer needed, for its essence had been transposed onto the other compositional elements of my work, most of all: thread.

'Zeffiretto', thread on linen, 20 x 20cm, SOLD

'The way I see it, if you want the rainbow, you have to put up with the rain', 

Thread on canvas, 92 x 92cm

As an important and foremost contingent aspect of my practice, time is essential for the development of my ideas of imitation, however, it becomes the contrasting element of my work, for the execution of a paint drop, which is normally created in seconds, takes much longer when reproduced by stitching its features on canvas. 


'The Fountain of Good', 
Thread on canvas, 
20 x 20cm, SOLD

I wanted to use paint's density and texture, but without actually painting.          

PINS ON TREES

'AWAKEN'

Dress-making pins on a log 104cm high

This piece, made appositely for Bucheli Gallery, revolves around the idea of artificial growth. Although the aim of the piece is to describe the physical world and pay homage to Nature, it also exploits the human ambition of imitating and, often, recreating Nature itself.

My attempt here is to bring together the organic and the artificial by integrating them and, at the same time, challenge the viewer's perception of what constitutes a natural phenomena. 

The log has been enlivened by artificiality; I achieved this by presenting the viewer with a common pattern to be found in Nature, employing, instead, an ordinary object, for example a dress-making pin, and placing it within a different context.


With 'Awaken' I wanted to try to incorporate all the concepts that I learnt by doing on-site installations during my MA year at Wimbledon College of Art (University of the Arts London). I wanted to work in a more intimate, practical and accessible way; I thought I would achieve this by creating a movable sculptural object.


This installation with dress-making pins (below) was called 'The Present' and would occupy the outdoor and indoor spaces of my MA studio in Wimbledon:

Note how a spider came along and made my pins his home!