I began my practice with oil paintings. Recently, the slow technique and lack of time obliged me to shift to a more quick and fast techinque, which I found in acrilyc, watercolour and oil pastels on canvas. My new style is ephemeral and spontaneous, gives way to more elaborate and de-constructed works. Very soon, too, the body emerges as the first subject of canvases whose meaning, and it is a constant in my work, is more in the subject and his/her story and less in the environment. The body in my paintings is indeed destructured, often fragmented and decoloured, with the main intention to go back to the essence of drawing and forms, almost looking for a minimal structure. It is because I lend allegiance to the tradition of portraiture, this original and inexhaustible form in which all the possibilities of figuration seems open. The paintings, drawings or watercolors of people I meet tries to evoke the feelings I receive and the memories of each of the subjects, evocating the passion of the souls, through the colors and shapes. Questioning myself every day, making mistakes and trying new paths, I believe in human innocence; everyone owns an inner beauty which deserves to be recognized and appreciated. To captivate the eye by transforming the clear into a blur and the fixed into a movement is an active ingredient in my research. I paint in a very instinctive way, following the example of the expressionists who fascinate me. Without having a clear idea of the final result, I stop my work before it seems finished. The moment where little is enough to suggest the structure interests me, leaving the spectator's imagination open at the moment the scene is starting to appear. Knowing when to stop before saying too much is what I tried to do. Another fundamental fact of my work is to look for their contemporaneity. The scenes presented give an account of the world as it is lived: in a constant tension, that of the catastrophe of the banal. The paintings of the painter are like a storm or an avalanche; everything is "breaking the mouth" in a kind of fall, of imbalance. Matter and composition themselves "break their mouths", revealing the scenes of reality accidentally and justly. As if the real atrocity was yet to come. And that's where the artistic gesture makes sense. Whether expressing the trash and latent anguish of our generation, the painter looks at and reveals a daily life that would be terribly disillusioned if it were not re-enchanted by the beauty of the trait, all unstructured whether.