PHANTASY OF TODAY Columns, Colours, Shadows   Research is of paramount importance for me, although I believe it also incorporates a mystic element, as well as a multitude of accumulating obsessions. Whatever the case may be, however, before I embark on the materialization of a single work or a series of works, I spend time contemplating, envisaging, researching. I have been considering new ways to look at space since 1992. Spaces offer a perspective; they are vast, extending to nature. Are they spaces of yesteryear or might they be spaces of today? A Renaissance perspective with one or more vanishing-points and one ... or more points of vision. The successive colonnades define space, they mark its limits. Although the composition, the organization of space, does not originate from a specific image, the result appears realistic.

It is purely a matter of geometry, rendered through a free approach, where, for the first time, the depicted shadow assumes a fundamental role. When I study and play with light and shadow, the structure of my composition is often symmetrical because through symmetry, starting from black, the intensity of the light becomes different, both on white and on colours. The study of the same composition is sometimes made in cool colours and sometimes in warm colours. Through the relocation of the cast shadow, it may assume a new aspect, structure or balance. In this study, the process of removing or adding elements and colours facilitates the realization of my thoughts. Spaces may be mental, mere geometric games, but they approach reality.
With colour, I reach light and shadow, moving from black and white spaces to irregular shapes and to the explosion of colours. It is a complex, schematic study, which allows and demands a manifold approach, the laborious explo- ration of colours. It is a journey, a voyage through my work, through open, interi- or colonnades, which lead to spaces from the world of dreams and imagination. These broaden my perspective, the course I have set. I often wonder and ask myself where I have seen these spaces. Might they be emerging from my past and future dreams?
My journey in painting integrates the experience of three-dimensional space; for this reason, many of my works could easily be developed into constructions. They are structural paintings. When I paint, I usually render in two dimensions a composition, an image, a vision which may range from three-dimensional to chaotic.
I persistently observe reality and nature's processes; however, I also receive my stimuli from the images and colours I see on television or on the PC screen.