Here we present extracts organized into series, each designating different modalities of the same process: that by which painting is put into action.

The idea is to validate or not, and sometimes even to overstep the limits, or beliefs, on what constitutes an image.

Each production cycle resolves nothing, remains open, maintained in a tension that is unique to it.

The photographic work seems to position itself in counterpoint to the work of the "material" colours, as if to provide a possible anchor.

What links all the productions is not a style, nor a form, but a common field of experience: that of painting, understood as an action inscribed in an open process, rather than as a fabrication of images.