The Vitruvian Man
The “Vitruvian Man” series explores the relationship between the interior space and the surrounding environment.
In all the works in the series, a whole human figure is placed inside a "living space" made up of a 70 x 70 cm canvas.
In the classical conception, the human body was the element with which space was defined, nature measured, architecture conceived.
This ideal vision is denied here by emphasizing the exiguous space that man normally has.
Ending and beginning
This is the opening painting of the “Vitruvian Man” series.
The man appears to be falling into a sepulcher or immersing himself into a sort of fluid.
Time, space, the entire course of a lifetime, have reshaped, molded, and deformed him. His twisted body returns into a fetal condition. The compression evokes the fear of dying, or perhaps, the fear of being born.
Aqvarium
The second painting of the “Vitruvian Man” series returns to address and face the theme of birth.
The fetus, in this case being a female figure, is immersed in amniotic fluid and is connected to the outside world through a cephalic cord.
Adam suffocated
"Compressed in his small space, Adam is unable to express himself.
He would like to scream out loud, but he can't.
The shame he feels pushes him to cover his sex and, still, he can't.
The genitalia that remain in sight testify to the very nature of man, his intimate essence."
In this painting the tension arises from the coexistence of opposites:
the inability to express oneself and the inability to conceal one's nature.
The authentic manifestation of oneself is destined to prevail beyond external constraints and one's own expressive inability.
Eva's Desire
In this painting, I face yet again the theme of free manifestation of oneself.
“Eva’s desire” is combined and paired with the work before it, “Adam Suffocated”.
Forced within the limits of her own living space, Eva would like to show herself, at the same time she is afraid of doing so...
Eva fears the judgment of those who, unrightfully, want to judge her.
So, she is forced to cover herself in any way she is able to.
With one hand she girds her shoulder and embraces her body.
The other hand conceals her femininity.
The face is also hidden but a fleeting glance betrays her desire to be seen.
Imprisoned Harlequin
In this painting I face the theme of liberty, freedom, and auto determination.
The Harlequin is seated “in its place”.
Seemingly comfortable, the truth is that he’s making room in his cage in which he’s caged.
He needs to be careful as to not injure himself with the sharp bars surrounding him, which is why he remains motionless.
He wears a mask because alas, he is not free.
His identity is hidden.
The escape of Harlequin
This work represents the breakdown of predefined patterns and the advance towards freedom.
Harlequin is the hero who broke through the confines of the cell in which he was confined.
Our hero has regained his identity, redefining the relationship with space:
he no longer wears a mask but rather a "Glam" make-up, rock star worthy.
He is proud, he feels strong, he is excited, he has a scornful laugh on his face, he is not afraid.
Tattoos appeared on his body that have the power of magic runes.
The sun in the center represents the pure, primordial inner child.
The monocle represents reason, the ability to see towards the future.
The arrow represents courage.
The star represents strength.
The wound with spilled blood represents the past.
The skull represents the precariousness of the human being.
The roar on the heart evokes the figure of Harlequin himself and represents his vitality.
Eva's Liberation
In this painting, I, once again, confront the theme of the human figure enclosed in a square space. Unlike my previous works of the ‘Vitruvian Man” series, the subject (Eva in this case) appears at ease even though she’s placed in a compressed space filled with dark colours.
Her body shows itself naked and bare and free and fearless. Her barely perceptible facial expression is relaxed, and slightly pleased.
The sensual forms of the woman emit a slight fluorescence and lighten the darkness.
Comfortably unaware
Adamo lies in the narrow space assigned to him.
Inert and all in all comfortable, he is unable to understand his inner condition.
So he looks out but feels uninterested about his surroundings.
Adam does not react and basks in his comfortable unawareness.
