My work has always included a reference and a sensitivity towards space and time, the concept of personal and collective history: from the material, symbol of my practice, to the wax and the choice of natural pigments, earths or minerals, which by aggregating they form both a physical and mental stratification.

The language we speak is considered to determine how we perceive the world: it could shape our thought processes or limit them.

Similarly, western culture follows a linear logic in the structure of time, of a narrative type.

We usually think of phenomena in terms of cause and effect or a sequence of events: something happens and, consequently, another happens.

However, it is not the only way of perceiving reality, our memory associates the facts more by symbolic-sensorial relationships than by chronological order.

The process used in my research represents an attempt to make chromatic gradients dialogue with an idea of temporal sedimentation: these gradients can dilate a moment or slow it down, the reading of the work takes place in its entirety and not in the sequence of instants (or layers) of which it is composed.

The work is therefore perceived as a segment of an instant, not static but fluid, a co-generative process in which everything is subject to time and its relative transformation.

This physical and meta-pictorial practice then transforms into a personal reinterpretation of these suggestions assuming the typical connotations of a daily ritual, a sedimentation of thoughts that overlap in a suspended time.