ART/S for Meeting, Communicating, Sharing
JARDINS DES TUILERIES
Digitally balanced and coloured pencil drawing
21 x 29,7 cm
2019
The Place de la Concorde seen from the Jeu de Paume Museum – Tuileries Gardens.
Digitally balanced and coloured pencil drawing.
Digital reproduction of the original version, processed b/w version and colour version
IMAGINATION
Drawing on paper
retouching and computer colour
1024 x 1024 pixels
2025
IMAGINATION
Drawing on paper
retouching and computer colour
1024 x 1024 pixels
2025
Double experiment:
Start from a drawing made instinctively and give it a narrative form
Evaluate which visual path is produced by identifying dots produced by a background colour.
THE EUROPEAN SON
Wood, nails, plastic, cardboard, plaster, painting (gouache)
80 x 107 cm
2022
THE EUROPEAN SON
Wood, nails, plastic, cardboard, plaster, painting (gouache)
80 x 107 cm
2022
You killed your European son
You spit on those under twenty-one
But now your blue car’s gone
You better say so long
Hey hey, bye bye bye
(Lou Reed)
It is a wooden panel that you see, a found object that attracted the artist’s interest because of the reflections of natural colours that it gave off. The intervention is given only by the yellow stain, the sky-blue strip on cardboard, the three red dots on the already existing holes, the blue plastic cartridges on the nails, which also already existed, the choice of the frame, in terms of material and size.
The reference to the raw material is obvious. An original material that speaks for itself.
The minimal intervention dominated by pre-existing presences, and therefore by chance, is a fundamental reference for the artist.
The rudimentary, unfinished, imperfect, but unique, inescapable and definitive act. Disregard for conventions and style. The respectful dialogue with the material and the intrinsic and original form of the work.
Collage created during a workshop at the Patronage Laïque Jules Valles, Paris.
Collage
24 x 32 cm
Cartoon added on computer version
2025
Collage
24 x 32 cm
Cartoon added on computer version
2025
New experiments in composition and narrative made live and in participatory form during my drawing and art history workshops . We explored in a playful form how collage allows us, starting with images taken, cut out and torn at random, a free composition, moving the elements around until we have an optimal composition. There the overall image speaks to you, and produces a narrative.
Assemblage
wood and objects on cardboard
30 x 30 cm
2024
Objects linked to the artist’s everyday life can take on new meanings when associated with each other. The thought of war, with the fears it produces (the dropping of a bomb, the symbolism of money that nullifies people’s humanity), becomes tolerable thanks to the formal research of the image and the artist’s slow and quiet work. The bomb becomes a pencil, the artist’s peaceful and innocent tool.
Workshop at the EHESS – École des Hautes Études en Sciences Sociales / Centre de Recherches Historiques – Paris
Organisé par Christophe Austruy (EHESS-CNRS, Centre de Recherches Historiques)
Giovanna Corazza (Università Ca’ Foscari – Venezia / University of Notre Dame, MSCA Fellow)
Maurice Aymard (EHESS/MSH) : Introduction
Jean-Charles Ducène : Venise chez les géographes arabes
Nathalie Bouloux : «Il primato di Venezia» dans les études géographiques aux XIVe et XVe siècles
Christophe Austruy
L’Arsenale Vecchio, l’Arsenale Novo e la Tana nella pianta di Fra’ Paolino.
Ipotesi sull’Arsenale di Venezia all’inizio del XIV secolo
Anna Pegoretti
A nord di Venezia: Dante cartografo e le Alpi centro-orientali
Theodore J. Cachey Jr.
Il cosmo di Dante: automappature ed esilio
Positive – Negative
Questions of depth.
The introduction of elements in the foreground that rise out of the frame produces depth and a photographic effect.
As this is the week of the fight against discrimination, I would like to share with you two pages of notes I collected yesterday on my notebook during a lecture at THE EHESS: École des hautes études en sciences sociales In Paris, on the history of women’s work in Venice given by Professor Paola Lanaro of the University of Cà Foscari, Venice. In particular, I point out that dwelling on images by drawing in a simple and spontaneous way while listening to a speaker at the same time can help us discover meanings we might not have noticed otherwise.
I also invite us to experiment with various calligraphies in note-taking by giving more or less emphasis to words that we find more or less important.
Pen and watercolor on paper
Infinite Leporello
4 drawings
14 x 14 cm each
2025
