Paintings (Pigeons)

/.../ From a dead hand's resurrection-

lived in the "Annunciation" (25 Marzo, piazza Santissima Annunziata, Firenze) -struck by a spirit?-

bolted into an unstoppable dance, with -'in'- the pigeons, fully becoming this creature.

along Emily Dickinson’s "assent and you are sane" - unto flight. Transported from the inertia of the daltonic eye unto the joyous trauma of color, light and music (Kreisler's violin, Bach's French suites #1, Bach in all forms). Where static and dynamic unite (as toward a Russian icon- Theophan the Greek, unto Andrei Rublev!)

The unenveloped eye launched from the grey pavement (pietra serena) tastes the enormity of Heaven (Life), capable to be transcribed into a daily, banal subject.

(even suffusing into decaying, hopelessly fragmented 'contemporary state').

Morandi succeeds to transform an ugly kitsch vase of plastic flowers into still, yet so unstill, subtle Beauty (art).

Where nature gasps at becoming. "

(from the letter of Tjaarke Maas )

(...) In identifying with the pigeons that live in our squares, painting them therefore means acquainting and re-acquainting with them, capturing their vital movements, the radiance and beauty of a creature in sacred time.”

Giuliana Videtta, critic, art historian. Florence, Italy

"The Annunciation", Pigeon Triptich

"The Annunciation" Triptich (egg tempera, gessoed paper on canvas) sm 70x50

"The Annunciation", Pigeon Triptich

Piccioni (tecnica mista su carta gessata) sm 70x50

Piccioni ("pietra serena"I) tecnica mista su carta gessata) sm70x50

"Findings" on Pietra Serena

(oil on canvas) sm71x51

Piccioni ("pietra serena"II) tecnica mista su carta gessata) sm70x50

Piccioni ("pietra serena"III) tecnica mista su carta gessata) sm70x50

Piccioni ("guatemala"I)