"Gathering the now proposing the next"
Having worked on the last projects with printmaking, drawing and painting I become fascinated with some qualities that each medium possessed. For example with printmaking the marks, tonal variations caused by aquatints, sugar lifts, the biting of the acid in conjunction with sepias and whites were for me relevant not only on the proofs but also on the metal plates.
The qualities of the mark made by the instruments used on drawings, the different range of felt tips of one color, the chiarosescuro qualities of a composition, the harmony on the image was again qualities that I felt attracted to. The dramatic contrast of charcoal in contrast with the empty space of the page, the rubbing and smudging of the lines.
The earthy quality of the chalk and charcoal together with the blackness of the ink, the glossy elements of some paints had for me references to a natural way of depicting the spatial elements of an athomosphere
I wanted somehow to do one thing that embraced all of what I had previously experienced and felt fascinated with, borrowing elements from each of processes. Extracting the essence of the metal plates that I felt in tune with, making them into pieces of work. Applying the dramatic tonal compositions from my drawings to develop a new way of working, to turn them into pieces of Art.
It seemed natural to me to paint with metal paint, making direct incisions on the canvas or board. To scratch them and let them speak through their own means as forms of metaphorical landscapes, like birds flying freely on the jet stream of the sky.
Choosing a restricted pallet of black and white to describe a certain subtleness. It allowed a connection between tension and harmony, balance and commotion, contrast and definition, with the dramatic perceptions that they already possess speak for them selfs. Like the storms overwhelming the skies.
Instinctively the pieces of work claimed bigger sizes, my gestures and physical actions could direct and influence the aspects of the mark and influence the next step, where to put it and in what direction.
Serendipity plays much on these actions they are random movements created by my arms, brushes and thickness of the paint. A variety of brushes sizes are used to make different marks and design aspects that become hidden until you look for it.
With actions without expectations, letting the canvas speak and do what the work wants to do, it becomes the initiator and the instigator of meaning.
My methods are simple. The canvas or board is first prepared with white chalk emulsion mixed with PVA glue. While wet I make marks with several instruments, like I would when working on an etching or dry point and let them dry hard. A coat of wood primer (oil based) is then applied on top and again more drawing is made.
The black Hammerite paint is applied as the top layer, when all of the other paint is completely dry. The viscosity and density is made with several sizes of brushes, just like I would do with felt tips when drawing.
They take some time to be prepared and to be completely dry. Each of the layers needs to be solid to receive another one on top.
Also I mix thinners and spirits with my paint to achieve different tones and create contrast. This plays an important part of the making of any of my pieces.
In summary I have an extreme affinity to my sketchbook work, they are crucial in my methods and process development. My still life drawing and etching have worked as catalyst with my new work. Having experienced the process of both disciplines I have become aware of what I liked and didn’t like, what I could and couldn’t apply in different ways. This resulted in a different way of painting.
I think this work is critically more interesting than anything else’s that I have done before, however I wouldn’t consider it better or more engaging than any of my drawings.
Mario
