When looking at an artist’s journey, it often happens that the past conceals signs of the future. Lately, my work has focused almost exclusively on the surface of the canvas, exploring space through the modulation of colors and transparencies.
And yet, there is a “sculptural” dimension that has always been part of my creative DNA and that today is once again making its presence felt.
In the early 1970s, as I was finishing my art studies, I created two fiberglass works that I still look back on with nostalgia: “The Forest” and “The Crystal Mountain.”
These prototypes were created at the height of the pop-rock era, and fiberglass in particular—which I had learned to work with while building canoes for competitions—allowed me to create modern objects that could evoke new, luminous, and fantastical worlds.
Today, in those lamps, I no longer see merely a memory or an interesting expressive experiment. Rather, I recognize in them the traces of a new dialogue with the “water” dimension, which for me is always present, fascinating, and indispensable.
This profound connection between light, water, and space marks the beginning of a new phase in my artistic journey. It is a return to dimensionality that, building on those early intuitions—which I have since deeply experienced and come to understand—is poised to explore promising and entirely new artistic horizons.
