The images of the modern city follow one another quickly, leaving a continuous flow in our mind. Nothing specific, a sign, a skyscraper, a bridge seen through the flow of traffic. There is no time to stop, we need to go and then only these impressions remain, not even written down but only images seen briefly through an unconscious lateral vision. And this creates the beauty of the just seen, of the almost forgotten. I could call them travel notes of the unconscious.

Charm is charm even if it becomes abstract. Indeed, it seems to increase, through an abstract style, the essence of female beauty. It increases the mystery and it doesn’t take much to feel the underlying harmony, a reality that cannot be seen but is perceived. I have drawn thousands of female faces in order to capture their soul and the feeling expressed in the woman reaches its maximum. The expressiveness of the soul then becomes evanescent with abstraction, but at the same time enhances the characteristics of beauty, as if isolating them. Every abstract image tells me more about her, now that there is no matter and it remains immaterial. Through the abstract, reality remains naked and spiritual, what more could I want from one of my works?

Who knows what the aliens are like! I imagined them in a thousand different ways and perhaps they are different and in different parts of the universe, unknown to each other. In the field of possibilities I couldn’t help but think of them full of technology, strange machines and tools, living beings and robots, one whole. Sometimes with eyes and paws, other times with wings and claws, equipped with means of spatial locomotion and defence shields active against any intrusion of destructive energies. In this field there is never too much imagination and I try to add my contribution through my art.

If there is one thing that really struck me in the film STAR WARS it was the creation of enormous machines that moved in the desert like strange large tanks but also giant campers. Aliens could come to earth and move around in similar machines, useful for travel but also defence or places to stay during their tourist visits. Some would be used to manufacture things, substances, weapons or food. Or to create small housing colonies or alien production centers. Hello earthlings, would you like a ride on our moving machines?

Have you ever imagined what alien cities and buildings could be like? Unthinkable architectures, incredible technologies or enormous living entities in which other aliens live like a living and articulated riverbed. This presupposes a developed way of thinking which, even if different from ours, will have its own rules and algorithms. I have always thought that there is never an end to complexity and I don’t want to set limits here. Even if all this is not true and will never exist, then I like to think that creating these architectures with my art has made them exist in an indefinite space that is now accessible to my mind.

Aliens are like a different species, they are those races that we have not known. They are the life that could be and that does not follow our rules, our forms, even our thoughts and soul. So I designed them as if they were other species with other rules because these are what determine the forms and functions. Drawing outside the box was the first step, then I told myself that they are not simple abstractions because they must also be plausible otherwise everything is alien, even a fragment of dust magnified a thousand times. They will have other sensitivities, other languages, but they will always move, they will have colours, they will produce sounds and to do all this there will be adequate organs to do it. This is how my artistic project started.

Will there be a god for aliens? Will they believe and pray, will they have rites and religions? Drawing all this was so fascinating that I couldn’t resist. What symbols will they use? What simulacra, music, litanies and rites will they develop? In the history of alien religions, the monk-scribe who, like the scribes, passes down the icons and sacred texts is missing. This is what I prepared myself to be, so far from the truth that I began to believe it.

Being visionary in art is almost a rule. The surrealists had taken their imagination to the limits towards which their unconscious pushed and every era has had its own, just think of Hieronymus Bosch up to Max Ernst and Dalì. What are ours today? I asked myself this question when I wanted to draw animals, but different ones. Not aliens or caricatures of existing ones. The world of the surreal thus opened up to my eyes as a new and different reality. Animals and plants were able to come to life according to my imagination but trying to be realistic. I hope I succeeded.

Continuing my surrealist discussion, there are species that lend themselves more than others to exerting great fascination in my view. Without the need to distort their essence so that they are not monsters, I wanted to illustrate birds, butterflies, fish, plants and flowers as my mind felt, following a continuous flow of creativity from collection to collection. I couldn’t resist not doing them, as an artistic need. Art must flow when there is inspiration. Nor can I say no to myself. Can you do it yourselves?

Continuing my surrealist discussion, there are species that lend themselves more than others to exerting great fascination in my view. Without the need to distort their essence so that they are not monsters, I wanted to illustrate birds, butterflies, fish, plants and flowers as my mind felt, following a continuous flow of creativity from collection to collection. I couldn’t resist not doing them, as an artistic need. Art must flow when there is inspiration. Nor can I say no to myself. Can you do it yourselves?

This category is a bit outside the path I had traced in my surrealist work. I wanted to continue the path taken by De Chirico with his imaginary squares, unlikely monuments, a new language that deserved other possibilities and developments. What better than a challenge trying to do it? This seemed to me at the beginning and I am actually so happy to have undertaken it that for a long time I dreamed of being there in this space-time of the mind where the past and the future traced paths completely excluding the present. Art offers many possibilities and more than knowing oneself I would like to point out that art takes us beyond ourselves, overcoming all the limits that we continue to place on ourselves. In fact, these new and unexplored territories were like a holiday for my spirit, made possible by art and all the possibilities that are offered to us.

Continuing my surrealist discussion, there are species that lend themselves more than others to exerting great fascination in my view. Without the need to distort their essence so that they are not monsters, I wanted to illustrate birds, butterflies, fish, plants and flowers as my mind felt, following a continuous flow of creativity from collection to collection. I couldn’t resist not doing them, as an artistic need. Art must flow when there is inspiration. Nor can I say no to myself. Can you do it yourselves?

This collection, despite being a development of the FANTASTIC SEA line, which is part of my surrealist works, has its own characteristics that need some clarification. It has a more playful, almost childish appearance. Stylizations from children’s books although useful for clothing. Greater synthesis and cartoon characterization better define its fresh and youthful cut. I think it is in my nature as a designer rather than a painter to have wanted to develop this style.

I continue my surrealist discourse also with plants. Can plants take this cut? More surrealist than naturalistic? Obviously the answer is yes as I developed the collection. The colouring, structure and compositions are based on many of my surrealist drawings and so the plants become living beings and no longer delicate objects suitable for decoration. They have body, structure, life and they look at us.

Mystery makes the woman even more fascinating if that were ever possible. The stars and planets, the entire universe dialogue with her through art and the representation of her when she becomes dreamlike and symbolic, projected towards the future as the mother of all hopes. And this synthetic stylization comes from the world of Art Deco and surrealism, giving her a representation made more precious by the use of gold which, like stardust, reflects the value of her soul and her beauty. It is a jewel that the whole world has received as a gift and I wanted to celebrate it.

This collection made of plants and flowers aims to be a little naive even if at the same time it remains sophisticated. And it is at the same time heavy and light, heavy in the figures of coarse plants but remains light in the spirit that animates the elements, minimalist in shapes, almost suspended between substance and color. Everything is so simple and at the same time so surreal. Ultimately it’s too much for her who just wants to be naive art.

The sea like a trompe-l’oeil from the past. As rhetorical figures of the dream, whether they are animals in the jungle or ships sailing to distant islands or fish playing among coloured algae or in the sky among the clouds. Only the imagination of a painter so that we can return to being children through art. This dream world makes the marine world seem like a fairy tale and my goal was precisely this: painting as a decoration for a children’s room. A style that becomes a poem in the eyes of those who remain children.

The woman and the stars, in particular the moon, which has always been associated with a female figure. This line delves into the theme of women’s beauty as an artistic research. These images are concentrated on her face which is certainly the centre of balance, where our eyes rest, lost in an endless gaze. Esoteric symbols and references can do nothing against the power of the eyes into which we would like to fall until we feel the soul even when they are missing or are just empty sockets but they still capture us. Our heart beats in unison with her wherever our love is through a painting, a drawing, a figure. And this is the magic of art.

I had a dream. I dreamed that I found a nineteenth-century album full of images of a “Grand Tour” trip. What rich Englishmen or Germans or others did when visiting the beauties of Italian cities. Ladies and nobles, artists and poets came to see the works that made Italy so beautiful. Well, I imagined that this “Grand Tour” was done in 19th century England by aliens, enlightened and cultured, attentive to romantic atmospheres, to the poetry of nature and this album showed the images of this tour. Images that are influenced by the taste of the time with a purely pre-Raphaelite flavour. Who knows who made them! I had an idea.

While I was planning the album of an alien on holiday in England I had the opportunity to create less romantic and more metaphysical figures, more mysterious aliens, whose intentions we cannot understand. Contexts and landscapes with an idea of mystery but full of a strange and remote spirituality. Perhaps it is these who instructed the Indian and Chinese sages, perhaps the Sumerians and Egyptians learned from them the first rudiments of writing or the development of the esoteric sciences and the transcendent soul. Does our civilization descend from them? The spirituality of the alien was the idea behind this collection.

Beaches and a woman’s body. Like a dream that we could realize by reassembling image after image, all the same but each different. I seem to hear the sound of the surf, her laughter, the lights bouncing reflection on reflection. Transparencies that follow one another and the wind on the skin is the same that ripples the waters. The heat that pervades you together with the ice of the cold water creates a contrast between sky and earth and the sea in between, in layers. Even in this way, beauty can be expressed and nature takes care of the painting.

Geometries and the woman’s body. Shapes in assonance, shapes that find each other. And curves that divide a space that is always perfect if a woman’s figure determines it. This style has the colours and shapes of abstract art combined with the sensuality that only a real body possesses, not its symbolic interpretation. There is a moment, a position that the eye catches before changing and then you know that only that contains the perfect moment where the same harmony and equal rhythms between body and geometries are played. The artist’s eye knows what this formula is and I still cannot express it with formulas.

I created the second line of “SENSUAL BODIES” when, while developing the drawings, I found a notable difference with the previous images, those of the first series. In these there is much more graphic design and almost abstract geometries. The subsequent images, which followed the second series, had a more realistic and photographic substance. Here too, fragments, but of photos cut out and mounted with decisive geometries, here too abstract cuts, a common characteristic of the two collections. I find it is particularly difficult to describe this technique but just one look will be enough to understand and the meaning of my writing will be clear to you.

Can you see the soul? Or see the spirit when it leaves the body? Quantum physics is trying by hypothesizing the measurement of the energies expressed by a passing soul. But through art it is possible to represent something that makes you imagine this or at least I tried. This line talks about this. Our body is made of many complex things but everything is resolved in a centrality of feeling that we have mainly in two areas: in our head and in our chest. By drawing traces of life in movement through symbols and geometries, lines and fragments of moving elements, I have created an explosion of energy that can also be shown figuratively. If you don’t see it it’s because you are not a licensed artist. I recommend you do it or renew it. Or write to me and I’ll send it to you.

OK it’s 2220 and having a relationship with an automaton is legal. After years of fighting for equality between machines and humans, the bill has now been approved. I will thus be able to show you some girls, or rather “automatic girls”, who have all the human qualities, or rather something more. But please don’t make them fall in love with you because for them love is eternal. If you like #5 I recommend her because she is my girlfriend but the time has come for me to change. Tell me, have you never had a collection like this before?

And the animals? What would we do without them? Our company can provide and supply you with them even if they are extinct.
Do you want to put a nice Velociraptor in your garden as a guardian? Now I am in favour of not abandoning animals on the motorway but since we are the real animals, how would we like being left alone in the middle of a service area by one of our animals? Did you want them to learn everything we know how to do? But I told them not to teach them to drive! That’s it.

A man and a woman. it is the history of humanity, of the union between two totally different entities. In the representation of various artists one way of representing them has been through the idea of the moon and the sun. The moon is beauty and dream, delicacy and hope towards the future. The sun as a symbol of strength and energy has the power to do, to build but also to destroy. They attract and love each other also through abstract, geometric, symbolic lines as in this collection. Difficult as art halfway between symbolism and surrealism, between the geometric and the abstract to show the union between the two entities, their love.

The cat, a mystery that is close to us and of which we know nothing. Intentions, behaviour, potential. It is next to us but is still a perfect stranger that we like and love. This also through art. I thought of approaching by approximation, trying to capture an instant of its life with a few signs or spots of colour, an elusive expressiveness, which is easier to translate into an imprecise scribble. What can tell it better than the indefinite?

Continuing this story about the cat I remembered how in the 19th century they communicated through postcards made by refined artists who, with drawings and engravings, often more precise than a scientific drawing, managed to substitute the beauty, the stereotyped beauty of a postcard and created the portrait of an animal as beautiful as a painting but as elusive as a dream. Making these drawings was a continuous caress for the animal, only instead of doing it with my hand alone I used pencils and sanguine crayons.

My creative journey to the alien world took an unexpected turn. I thought: which existing animal could have arrived on earth from unknown worlds and with which we would like to come into contact every day? And I thought about cats again. We try to talk to each other, to have a dialogue but to no avail. Was the evolution of cat-like alien species in the plans of a creator or does it descend from other unknown alien races? It wasn’t easy for me to imagine them and even more so to draw them.

This task, that of the alien dinosaurs, was easy, unlike the collection of alien cats, because the dinosaur already looks like an alien race in itself. So I thought I’d complicate it a bit. The world of dinosaurs, I thought, is not over. They took power over the earth and took the place of man. So why not let it be a deejay or a knight or a sailor? I even wanted to make it a plumber but have you ever seen a plumber alien dinosaur? Well I haven’t. Then they discovered computers and software, many more professions. And why not a trip to Mars? I would have made it do it but without a return ticket, you never know.

When I was little, but also as a boy, I loved comics, so much so that I wanted to learn to draw them. The stories I mostly saw drawn were those where the protagonist was a superhero. Strange that only with comics did this narrative feature explode and I think it was the most American idea possible. But when I was little I didn’t know this and I bought issue after issue. Often these superheroes were half machine and half human and the idea of robots crying and loving was fantastic. But do you think robots can’t have the same feelings even though they aren’t humans? It all depends on the algorithm, the software that is their soul. But as a designer, I can put all the soul I want into them. After all, human art, even without software, will give this scrap-iron much more heart than we have, always ready to kill ourselves without caring too much about each other. So long live machines, especially with super powers. But be careful, there are also super bad cars! In my drawings.

Another remnant deriving from the research done for the album of a romantic alien was the observation that even aliens can be beautiful and sexy. Nothing wrong with adding facts to words and here I am grappling with beauties from all the stars of the galaxy. I feel their gaze entering me with a gelatinous sensation. They taunt me with their six legs or strings of orchids growing from their purple hair. I could have easily fallen in love with one and I already imagine our children sucking my ear right to the brains or visiting our in-laws in distant galaxies, so far away that we will never arrive in time for lunch. Let’s make a pit stop in the constellation of Orion where dreams are eaten and I am one of them and I dream of writing to you, now here on this site.

One thing I loved most about the Pre-Raphaelite paintings were the women depicted in them. A type of beauty that now seems to have disappeared. Those looks, that pride mixed with melancholy, that makes you feel, when you look at them, like a knight lost in a distant and impossible love. Well, all this now seems to have vanished and the woman made goddess by this way of representation remains only in those paintings. I absolutely wanted to create this collection to also add a tribute on my part to all the women who don’t know that they are always goddesses and queens, and who are so without knowing it. It would be enough if they looked through the same filter that animates my mind and my hand in drawing them.

The modernity that is in me and that I love should often marry with the past because in some unions unexplored beauty and a lot of style are hidden. Looking at the discourse opened by Art Nouveau flowing through Klimt and Egon Schiele I can create images where ancient, Celtic and Gothic symbols, barely mentioned, create a contrast between figures and backgrounds. And it’s as if Andy Warhol’s Pop Art met Dante Gabriele Rossetti. Is it ever possible? The female faces of this collection burst in or disappear into the decoration. They scream their beauty and disappear in silence among flowers and blazes of colour. I love looking at these works and I still haven’t understood why.

A pictorial technique that satisfies both the hand that performs it and the eye of the beholder is one that, with broad brushstrokes made in a synthetic manner, manages to express the image that it wants to represent. In this case which are portraits, the difficulty is to be able to do so by overlooking the details of the image, but it is these details that are particularly useful for the resemblance.
the pictorial effect is guaranteed especially with bright and contrasting colour fields. As an important part of the painting I inserted random writings that determine graphic breaks between the parts. This mix makes this style new and particular, at least for me but I don’t know all the artists and I could be wrong.

My love for the female face has led to greater attention to the details of the face through finer and more articulated writing and graphic signs rather than broad brushstrokes of colour. In fact this line is a development of the previous n.52. This development has removed the crudeness of the synthesis with broad brushstrokes, making the image softer and more delicate. As if I had moved from prose to poetry, wanting to make a comparison with writing.

There are things that are difficult to think about until one day you think about them. Have the scribe monks dedicated their time and artistic skills to the woman and her body? Some of us made slightly risqué drawings as kids and then immediately threw them away for fear of being discovered. But didn’t the friars, in their closed cells, also think about women in a biological sense? Or did they secretly sigh for an impossible and unlikely love given the conditions in which they lived? I believe that the idea of sin has greatly fomented things that are in themselves natural. What inspired me most was the idea of replacing the images of saints and princes with those of female beauties while maintaining that style which smacks of the sacred whatever the content. After all, most ancient paintings show the woman in her being without or with few veils. Perhaps only through art could a bit of poorly concealed hypocrisy be hidden.

What I like in this line is the synthesis of the lines and brushstrokes which, through just a few strokes, manage to give us a thrill of sensuality. Perhaps too much seen as well as too much said covers the essentiality of a gesture, a pose that gives a single, clear, precise, beautiful and provocative idea of the female body. And I confess that it makes me dream of that body, that fullness or that emptiness of the drawing and it is no longer a drawing then but just pure sensuality.

I have made thousands of portraits and a thousand different ways to render a face. Describe features by looking through them and make signs used to bring out her soul, her deepest being. This can often be glimpsed through errors, distortions, the emphasis of something that is more evident than others. Not reality but rather it is better to grasp the hidden unreality. This is difficult but it is very important that it happens. It doesn’t matter if there are many or few lines used because it doesn’t matter if you say: see I used a few lines instead of many, my work could be better because of this. Instead it could be that using many signs, even superfluous, wrong, useless ones, manages to restore the randomness and unpredictability that makes you see what you cannot see. I look for the imperfect because it expresses the movement of life, if you want a portrait to be alive. This in general, this line in particular is a middle ground, an attempt between too much and too little but it is never the middle ground because it is always a little too much or a little little. Depends. This is reality if you want it to be more true.

I always thought that drawing car carcasses was something that was very satisfying for a designer and when I tried it I was thrilled with missing or ruined pieces, rust and peeling paint and then these scenic American cars in infinite spaces and desolate locations. However, I had to take a leap forward and so I projected myself into an apocalyptic future, post atomic war type, but it wasn’t enough for me. How strange could future carcasses be and in what location? On Earth the places were always the same and therefore the known immediately became banal. Then I thought of remote places in space, on planets where life had run out, leaving these machines as a symbol of finite times between sunrises and sunsets with moons and planets as spectators watching the wonder of life everywhere and in any case.

Every time we see an old sports car go by we turn to look, envious of those who own one, especially English or Italian brands. Triumph, Jaguar, MG on one side and then old Alfa, Lancia, Ferrari and Isotta Fraschini on the other, you’re spoiled for choice. I’m sure some girl would love to take a ride to show that female beauty goes hand in hand with the mechanics and shapes of these elegant bodywork. So if art celebrates beauty I wanted to celebrate it doubly with an old line of women and engines. The bikes from back then were also beautiful and I tried to include those in this collection too. A collection that gives us elegance, charm and nostalgia.

After cars, motorcycles could not be missing to celebrate the pleasure of seeing perfect mechanical forms together with the equally perfect ones of women. These riding true mechanical jewels were able to feel the wind flowing on their faces and through their hair, listen to the roar of the engines, they felt a special freedom that only those who ride motorbikes can understand. This is a great regret of mine, as I have wanted it since I was little and now I feel I no longer have the ability to try, given my age. But by designing this collection I was still able to experience the exhilaration denied to me by the circumstances of life.

I have always thought that the scooter better embodies the needs of women, given the convenience of driving it, parking it and without the entirely male concept of the “virile” display of a powerful and clearly visible engine. The scooter gives you an idea of the city but I also thought about the beauty of a scooter holiday, among historic squares and narrow streets in the tourist resorts of Italy. Thus was born this collection in which I added to the beauties of women and motors also those of dream places that can be visited in Italy. But it would also be nice to do it elsewhere because a holiday like this would be worth it anywhere.

There are moments of everyday life that can be a starting point for creating images full of charm, in colours, signs and expressions. I think of the many paintings created during Impressionism where the landscape and location combined with images of everyday life prevailed over what until then had been the motive that inspired a painter to paint. No triumphalism or historical moments but normal people in normal activities and in normal places. This showed that beauty could be found in the simplicity of life. Everyday life elevated to a symbol of the new, where technique and colour prevailed and where new theories of seeing could create new and beautiful works. I tried through the simplicity of a stone field, reading in a flower garden or on a terrace or a veranda to follow that path, obviously with my own more modern and effective technique. The simplicity and freshness of the images really won me over.

After seeing this collection, images of a beach holiday will come to mind, or fragments and memories of special moments where you were able to admire a woman’s body in the water in all its beauty. When she enters, she moves or swims in the sea or in the pool. The sparkle of light, the transparencies in the water that show but at the same time distort visions of the body in all its female splendour. Magnificent views under water, while floating or relaxing or swimming or sunbathing. I am proud of having created these drawings because I thought that beauty exists wherever one can see and all this was a revelation for me until I realized it and I became aware that the world is beautiful because the possibilities of art are infinite. They are before our eyes ready to be seized.

I have always celebrated women in the majority of my works and nothing can depict a woman better than a flower. She thus becomes a flower in my garden, a flower among flowers together with her scent and her petals, a flower born, grown and protected by the other plants. I will wait for the dawn to see her colours shine, I will wait for the evening to see her sleep and become a dream, my dream as an artist. Every man should dream and wait for his woman to become the most beautiful flower in his garden. This is what I would like to portray with these drawings, a simple message, a message of love.

Not tired of drawing women and flowers, I imagined my garden as a place where they could stay hidden and show themselves only to whoever they wanted. Fashion has always dressed women in flowers in a combination of overlapping beauty. But fashions change and this remains the best camouflage that every woman seeks for herself because it represents them better than any other. A light, fragrant collection, secret places in my garden.

In my need to retrace the paths that the past has shown us there are places around, especially in Italy, where architecture and nature love to show themselves in a perfect union. Here rich families built their villas and palaces with gardens with fairy-tale geometries. Just think of the Boboli Gardens in Florence, grandiose behind the enormous Pitti Palace. The garden was and is the first and last thing in a palace. Here love stories were born and young people were hidden with their hearts, passions, loves to be experienced, among flowers, statues and fountains or hidden among the trees to protect their intimacy from prying eyes. I imagined beautiful women immersed in nature confused between statues and flowers as if time stopped to look at their beauty, forever.

If I could get close to a female face to admire it up close or draw it as I have often done, I would use a single brush or rather the best pencil suitable for drawing flowers and petals to combine the delicacy of the features with the scent of life and beauty that every face and every flower emanates . It won’t be the last time I will symbolically unite these figures but this collection is one of the most delicate I have done on this theme and it is as if I am handing a flower to all women and I will never get tired of doing it.

Then it happens. I thought I had drawn everything on the woman-flower theme but then I realized that there can be no end to creativity and there will always be something new that I and others can find. This gives me hope and enthusiasm in doing a privileged job, a job that isn’t work if pleasure is more important than effort. The onus is on you to choose what you like best. Specifically about the collection, what amazed me was finding in these drawings the colours and variety that I have only seen in the palaces of Venice, in landscapes that exist only there, beyond what you can imagine. A dream place as is a woman’s face, a geography so perfect even where perfection does not exist, because perfection does not exist in art as it is alive and moving, always constantly seeking to improve. However, this combination, Venice and female beauty, makes me doubt this and that perfection exists instead. But as I said before, the judgment is up to you.

After the flower, what creates a new dynamic in me linked to the woman and her face? I think there are an infinite number of them but one in particular has always intrigued me, plants, trees, leaves. Do you think that it is enough to replace the flowers with leaves to obtain the desired result? This is not the case because the leaves create a different dynamic, more moving. It’s as if behind every leaf there is the wind that moves them or the sun that makes them shine and so they become hands that caress faces and whisper sweet sounds, poems that only nature expresses. We can only observe them and read the infinite nuances they possess through the few words in our dictionary. Thus it becomes a new way of telling the love for women, more linked to nature but I am sure that she will find other ways to tell us an infinite story made of love.

I’ve been to Venice a few times. I live in Florence, which I immediately loved, as one loves a woman and I felt her to be alive and available to show herself in her essence and depth. I did not and do not see Venice as an antagonist and by visiting it several times I understood that it is not. Venice is another world, not better or more beautiful, just different. While in Florence I find a unity of colours, style and shapes, in Venice this is not the case. The range of colours, shapes and intersecting styles, between ever-changing images as you look at it, is so vast that I couldn’t make a fixed point. I have been dealing with styles for years and since it was not easy to describe and qualify a precise style, I understood that its heterogeneity, the various ethnic groups of visual cultures, is its style. But it is not many styles but it is the Venice style, unrepeatable and which only exists there. So I stopped making comparisons with Florence but also with other cities in the world. This mystery was repeated in the works of this collection. Women and Venice, an easy, immediate union, with many facets, between the mask and the depth of the psyche, dreamlike and carnival. Yes, the mystery of the woman is the thing that best integrates with Venice and this was my story. A journey without gondolas or vaporettos but a combination of colours, scents, magic all on the surface of the water and an endless atmosphere like a sunset or sunrise that never ends.

I thought of making four sketches of girls, of trams and buses, their tickets, their expectations and then instead I saw poetry. Poetry of everyday life. Their gazes, gazes that think, that dream, linked to lives and stories, all through a gaze that cannot even be seen. This is the magic of art that takes you into unexpected territories, sometimes unwanted as in this case. Accidental and therefore beautiful. Each image is a different story but always travelling and waiting for something to happen, a message, a call, an oversight. Will he still be there waiting for me? Or am I doing the right thing? And again, what am I doing here? Nothing is decided or happened. We are in a limbo whose name is: I’m waiting for the bus, I’m sitting on the tram waiting to arrive, what do I do now? My drawings don’t give answers or ask questions and sometimes I wonder why I do them but, as in this case, it was nice to do them. All this can be magical, and this is the magic of drawings.

I really loved American painting of everyday life. We Europeans discovered it later, or rather we discovered it through philosophy, with Sartre and Camus for example. The existence lived every day going to work. You can review your life, think about memories, what you did or what you will do. So life goes by and it’s these long moments where you wait to arrive and you see the movies of your life. And while you wait to arrive, you also wait for the end and this daily journey thus becomes the symbol of your total journey, that of your life. The women in this collection don’t seem happy but they seem satisfied with themselves, so perfect, elegant, they feel protected in their normality. As if the graphic version was life in the making, uncertain but in movement. This version stops her as if she were in a sink and even if something moves it still seems like everything is still. Painting has this effect in flat, tonal realism. A set of flavours that become one in a smoothie unlike every single flavour enjoyed one fruit at a time.

Today I’m going for a walk, breathing some air. And it doesn’t matter if it’s polluted, the sun’s rays still arrive, the wind ruffles my hair and I’m happy to move around without any purpose. I could visit that bookshop, look for a shirt that I’m missing and finally a coffee, sitting at the table in that bar, why not? Thus I continue to describe everyday life through my drawings. Each one has a meaning and without it I wouldn’t know what to draw. Fortunately this is not the case and I too wander among the streets and shops. Be careful not to trip over a curb or any ugly squiggle while drawing.

I don’t understand navigation or sailing and therefore I won’t talk to you about this but about the beauty of sails in the wind. Overlays of moments and images in which you perceive the elusive atmosphere, the unrepeatable moment of the race. Those who experience them think about manoeuvres and every effort is made to use wind and waves to outrun others in the contest, but not me. I can stop every moment and draw these moments of abstract beauty. Separated from victory or defeat because beauty always wins when it manifests itself. With warm or cold colours, without waves or skies but only sails upon sails. So simple and so beautiful.

There is a category of drawings suitable for clothing because they tell a story and identify a group, a membership, a club. In this case they represent nautical messages and images of regattas and sailing ships or of sailors and maps. They would be interesting as designs on a t-shirt or poster. In my business I have published many books with this purpose. Illustrate a theme that interests young audiences as a representation of an idea or image that they share and that they aesthetically like to possess. In this case designs produced by various Sailing Clubs around the world.

Still on the nautical theme, I have always been fascinated by those old yellowed prints where you could find the map of a journey, a particular route, a sailing race from other times or a historic sailing ship with technical references with compasses and wind roses, globes and technical instruments of navigation. Now I no longer see them around in antique markets and you can only find something in old books full of ancient maps. I wanted to create them as if they were made then, in past centuries with the pleasure of thinking as the graphic cartographers of the time did.

I had previously explored the theme of the woman who identifies with our mother earth but then I felt the need to develop a broader collection by relating different elements. Using vegetation, from plants to trees and flowers. Then the roots as a symbol of rootedness and belonging to the earth. Finally the birds and the clouds for our need to feel free and be able to fly away. All this inside this house of ours called earth.

I was still young when I went into the country to help my father with his work as a farmer. And he talked to me about how to create a vineyard, by digging deep into the ground full of stones, and large stones in our case, in order to house the cutting, the first element for the development of a vine. I’m not here to explain to you the long and laborious process that took a land from scratch to having the first grapes after 5 years of work but my memories come back to me thinking of a moment, that of the harvest, which was very beautiful even if tiring. Harvest time, when the fruits are harvested is, in all traditions, a special moment. In the past I created paintings that represent it but then I stopped being a painter as a profession because as an architect my interests were broader then. I wanted to retrace the sensations I felt then through a collection that touched me personally. The moment of the harvest was like a celebration of colours and aromas, of the earth, of the musts and the sweetness of October.

Bathing for a woman is a ritual, made up of times and routines that we men cannot understand, at least I think so. But I can imagine how important it is for a woman to dedicate all the attention possible to herself and her body. Through this come moments of peace and reflection that make the mind calm and at peace, the body expels toxins and fatigue and the skin is regenerated, fresh, relaxed, soft and shiny. After a bath, women are ready to give their best because it is not easy to be a woman, sensual and persuasive, beautiful and fascinating, intelligent without wanting to appear so. This is why a bathroom for a woman is not just a bathroom.

I wanted to talk, or rather draw only Florence but then I thought that all of Tuscany is a special land where nature and culture over the centuries have helped civilization to progress and so I wanted to show aspects of this land that I know well and appreciate because I have lived there for over 50 years. It is no coincidence that abroad people have the myth of Tuscany and it could not be otherwise. Where can the beauty of the landscape be combined with centuries full of culture and progress in many fields, political, scientific, artistic and literary? It would take thousands of pages to describe them. The Italian language was born here and you can feel its sweetness because it was born in Tuscany. I don’t want to say about the food…but I’ll stop because I’m going to eat a good plate of Tuscan food.

I must confess that I never get tired of looking at Tuscany. Its beauties speak to my heart and so I wanted to further develop the relationship between the beauty of women and the landscape, as the Renaissance painters did. These gave the world an idea of female beauty as it had never seen before. I’m talking about Filippo Lippi, Botticelli, Leonardo and their works still arouse wonder and appreciation today. I’m talking about how the beautiful faces they draw integrate perfectly and are enhanced by the landscapes that accompany them. This is why I wanted to create this second collection, and I am very happy to have done so because I was able to continue designing with my heart, loving Tuscany and its art.

It is undeniable that 1000 years of Roman domination first over the surrounding lands and then throughout the Mediterranean and beyond were important and conditioning for all peoples and cultures. Languages, codes, laws, rules that only thanks to Roman minds were able to evolve as they are today. What the Romans built, aqueducts and roads are there to show how gifted they were not only in organizing public affairs but also in making cities what they are today. Their structure, from urban planning to construction science, has remained to show the whole world how much it owes to the Roman people who, together with the Tuscan people, who intervened later, shaped everything that the West and modernity mean today. Mine wants to be a small tribute to those who made it possible by dedicating a collection to the classicism of Rome, because Rome is Rome.

I have spoken extensively about the culture of Rome and Tuscany but I cannot ignore the previous civilization that marked the history but essentially the culture of vast areas of the Mediterranean. I’m talking about Greece but also about Southern Italy which was largely influenced by it. This is why I called the collection Magna Grecia because I recognize the notable role played by those peoples in the sciences and arts. I don’t want to review history but just take inspiration from their stereotypes because they are very beautiful ideas that will never die. For example, thinking about the myth of Venus or that of mermaids among many others. I would like to point out that I have not taken up the artistic dictates of every people I have honoured but I have always followed my own.

While I was drawing Venuses and mermaids I thought how similar these concepts were to the world and style of Art Nouveau. I like to experiment and try new tastes and mental clothes. So I wanted to mix my style with that of Art Nouveau and therefore I created this collection. I don’t have much to say, just that I let myself be carried away by the beauty of the mermaids and the redundancy of the signs.

A kitchen, a world, a place where women spend their time, not only to cook but also to reflect, read, write and also think. There is a relaxed atmosphere in that place, you don’t have to appear or be judged for how you are dressed. Who cares if they have a little flour in their hair or their apron dirty with sauce, they always remain charming. Like when they offer you a cup of tea or talk to you about children. The conversation can continue on the patio or in the garden. It’s time to water the hydrangeas, before dark. How much poetry I see in this intimate world, enough to be interesting to my brush and pencil in search of inspiration everywhere and always where there is beauty.

A kitchen, a world, a place where women spend their time, not only to cook but also to reflect, read, write and also think. There is a relaxed atmosphere in that place, you don’t have to appear or be judged for how you are dressed. Who cares if they have a little flour in their hair or their apron dirty with sauce, they always remain charming. Like when they offer you a cup of tea or talk to you about children. The conversation can continue on the patio or in the garden. It’s time to water the hydrangeas, before dark. How much poetry I see in this intimate world, enough to be interesting to my brush and pencil in search of inspiration everywhere and always where there is beauty.

In the dim light in a café or in the light of an outdoor table, it’s time for a little relaxation, to enjoy moments of serenity, away from eyes and frenetic city life. Especially in a big city. Today I’m not sad, I’m with myself and I don’t want to think about anything, the subjects of my drawings seem to say. Okay, I’m dressed elegantly, I’m wearing the latest item I bought from Saks on 5th Street, but I do this for myself, because it gives me confidence without worrying about how I look, if I know I feel good. My mind makes strange turns but I don’t do anything wrong by being detached and being able to put off problems until later. Everyone deserves a vacation from it all, every now and then. I would like my subjects to think this but ultimately isn’t that the case for all of us?

Among the many ways I have developed to represent a woman’s face, I had previously tried to create the faces of robot women, trying to preserve as much as possible their beauty as human facsimiles. I hadn’t thought of a mix between mechanical parts and human parts. After all, efficient prostheses are already being used on human bodies and nothing prevents us from being able to replace many more parts in the future that over time function poorly or not at all. For me it’s just an artistic exercise but it allows me to explore the charm of this combination. Every step forward in artistic exploration is made up of degrees and steps and I felt that I was missing this.

The female body, not just her face, enters into relationship with nature with remarkable balance and beauty. It gets confused among tangles of branches and leaves, it feeds on the same scents and essences as if it were itself a plant that the sun illuminates and the wind caresses. Many countless ideas to develop a collection with strong character and personality. The bodies are more alive in this context because roots, flowers, branches are added to their life for a ray of sunshine to be taken together, bathed in the same water, belonging to the same family. A leaf or a flower can kiss you, nature can caress you and it is nature that welcomes everything into its womb and always gives beauty especially through a woman’s body.

Probably Leonardo, when he was developing his drawings by doing research on the body and organs of man, will have thought, among the many machines to be built, of this possibility of making machines that are copies of man himself. And if he didn’t do it I like to think that he could have done it and I imagined the drawings that he and other artists of the past could have created regarding this theme. I searched in my mind for possible paths, not only with regard to man but to the entire category of robots, that is, machines capable of replicating human activities or solving problems or helping man himself in his tasks. So I extended my thinking beyond the human body, but also to birds or horses. Then I thought that other mechanisms could also have been created in previous centuries. Cars, helicopters, planes. I know, we need to stop and analyze one point at a time but we artists cannot think narrowly and you will forgive me for this. Like everyone, no one is perfect.

Now every woman drives a car and their relationship is no longer that of the stereotype of the sexy woman next to a sports car. A woman is always charming next to a car but now she goes to the office, she meets people for work, writes reports and meets people like any self-respecting manager. In fact, I almost feel like I’m describing my daughter who uses the car a lot for work. What kind of image comes out? This collection started from assumptions that we older people continue to have about women, cars and the modernity of style, so I had chosen to do it with very casual and colourful signs, graphic structures of divas and not of modern managers. Then I realized I had made a mistake and I put those drawings away even though I liked them because they were pleasant. So I made these, a little technical, a little square. A less artificial beauty, little make-up, clean faces focused on the new role that society requires. Of all of them, I only made one drawing with a naked body next to a car and I ask you to forgive me for this.

Is it possible in the future to achieve a new aesthetic of cars with beautiful women next to them? It would be nice to invent a new graphic style combined with futuristic machine shapes. I tried it and I’m happy with the result. Images that make me hope for a future of excellence, in cars and also in female beauty. I guess I’m considered presumptuous but I don’t care what you think of me but rather what you think of these images and this new style. I’m so into it that I would never stop drawing them. Technical and vector lines add a more scientific flavour. There is no sexuality in the bodies of the women I show, half robots, half women, they seem perfect like the machines they accompany. No romanticism or sentimentality, just both aesthetic and practical efficiency. But if this were the case, the future, although beautiful, I’m not sure I would like it. Without love, feelings, imperfections and mistakes, what would life be?

In a modern mood I continued the path taken when I designed futuristic machines. Cities and means of transport will also change city scenarios. I hope not in the historic and fascinating cities that we can see in Italy and beyond. However, large metropolises are already undergoing this change which distorts the city skyline and we will have to get used to solutions that were unthinkable but now possible given modern means and materials. Coming from Florence I had this feeling when going to Frankfurt for the Book Fair I could feel this wind of futuristic modernity. A small hint but enough to make me understand what the future development will be. Then I dreamed of scenarios with overhead tram lines, stations and futuristic roads and I designed them with the same style used for the cars of the future.

I couldn’t exclude women from this stylistic process inspired by the future. I don’t know if a woman will increase her potential, which she already has, by comparing it to that of a man. Greater responsibilities and greater awareness have also given women greater potential. As always the plant grows more where it has already grown so I have hope in the woman of the future. Without the contribution of feminine qualities, the human race will continue with its usual mistakes, with wars, famine and even more with inequalities or the centralization of power. Is it possible that I can picture it? Personally I doubt it but I’ll try anyway.

In the various ways of depicting a cat that I tried to create, I could not leave out a cat that could represent mystery and the esoteric world. The ancient Egyptians already depicted it as sacred and divine and it is not difficult to believe that other peoples could also think so. Even during the witch hunts in the 1600s the cat was considered a demonic symbol. Poor cat, it must have been through a lot but certainly its figure and way of acting made it possible to imagine it as a mystery. Of all styles, perhaps surrealism could best represent the metaphysical aspect of the cat. So I created this collection for this purpose.

I have a strong feeling that there will be quite a few lines with a cat as the protagonist. You wouldn’t think I love cats or maybe I do! In any case, depicting it with a woman was certainly worth doing. The woman resembles and can easily be compared to a cat which is soft, irrational, beautiful and intractable, I would say two drops of water. These drawings in a modern and fresh style are in my opinion very decorative, in case someone decides to hang a print of them. And I understood this as soon as I published a couple of these works on Facebook.

How sweet it is to see a woman petting a cat in her bedroom or armchair! If the cat allows it, it comes so naturally and spontaneously that you feel sorry when the impatient cat wriggles out of your embrace and goes away. It has always been a big disappointment for me. While on the contrary, when you least expect it, it climbs onto your chest while you rest and smells you, it rubs itself, snores and shows a lot of affection but everything is concentrated in a few minutes because then it gets bored. In fact, a cat always gets bored, whatever it does, it won’t do it for long. But this collection makes up for all the refusals I have suffered from my cat. That’s a lot of hugs and I was able to do them one by one.

An ordinary day together with your little girl is no longer an ordinary day but becomes special, unique and unrepeatable in your memory. So I wanted to imagine a day at the seaside, watching the boats, the seagulls, the waves chasing each other on the shore. And the game of dodging the incoming waves so as not to get your feet wet, your little one learns immediately and then challenges you with a smile so beautiful that you would like to cry with joy. It’s moments like this that make you say that it’s nice to exist even just one day, any day. A collection of memories, of years gone by, happy years but we didn’t know it yet because then you could have done it many other times, but that wasn’t the case. I dedicate the One Day at the Seaside collection to my daughter who, when she was little, I never took to the seaside to chase the waves.

We are at the seaside in Barletta, I was 16 years old and there was a fresh, lively atmosphere. The sails and seagulls, billboards and bodies in the sun. Everything like those advertisements for sun creams, for drinks with new flavours, for musical groups with strange clothes, long hair and names, I don’t know, like the Rolling Stones or the Beatles or just the Animals. They played songs never heard before, with new rhythms and the young people moved up and down the Promenade. I think about those times and draw, draw as if life would never end. I remember dancing with my new friend from Milan, she held onto me and told me, how good your shirt smells, she smelled good and fresh and I said: my mother washed it with Marseille soap. Then I woke up and these drawings were there waiting for me.

Several years ago I saw a film from the 1950s, Souvenir d’Italie, which struck me. It was about the travel adventures of 3 foreign girls through Italy. Here, the flavour of those 50s, through the places visited, I wanted to convey in these sketches, almost like postcards. A now lost flavour of when I was a child but which comes back to me through these works. I imagined a tourist who travels through Italy alone and sees it with new and romantic eyes. Only the poetry of the places, not the art or the monuments, but glimpses where you can glimpse all the beauty of the place and nature.

A cat was lost, in fact my daughter lost the cat and this made us very sad because she was one of the family. I thought of many possibilities and among these was the fact that she was lost in the woods near the house where she lived with my daughter. I thought of this cat who discovers the forest, its mysteries, its scents, scents that she loved to smell, thread by thread, leaf by leaf. Thus was born the idea of this collection which once again sees the cat as the protagonist. I thought she met other animals, like owl, butterflies, birds. I drew several cats to give greater variety to the works, with a slightly naive touch, a touch that I had already used in other collections. I dedicate this collection to her, Squiki, my daughter’s cat.

A trip across the United States of America has always been the dream of many, especially if done by motorbike. It’s certainly not for me because I’ve never used a motorbike but I can understand the appeal of this adventure. In this collection I continued to have women as protagonists, adventurous women, full of charm, each with a different motorbike. I obviously chose specific locations but without the illustrative geographical purpose of a tourist guide. They are just images with the romantic flavour of the 60s and are valid for what they are, beautiful images in fascinating places, beautiful motorbikes and beautiful women. A very American cliché that I wanted to follow by appreciating this type of image because they convey serenity and beauty at the same time.

Many unfinished, unresolved or not yet completely defined designs have that character of imperfection and provisionality which gives them a particular charm. I love them because they offer me possibilities, many visions and ways out. Once a job is finished or solved, worlds that you saw as possible and that you didn’t realize but would have liked to at least try to do so close. And also the same style that derives from these tests, when you look for connections, attach pieces of other things, photos, clippings, tickets, this determines a style not in the sense of the indicated suggestion but because it becomes an amalgam, a visual patchwork itself. Or when you erase parts or test the brushes with squiggles or the same colours to use, laying down some brush strokes as a test. Here all this generates a visual story that becomes a style, a style that I love.