"TELL ME (19)"

Concept

On the basis of the first preconceived ideas from sketches, annotations at the margins, and studied guidelines, the result of each and every single one of my crafts is always conditioned by variables I deliberately include. I’m referring to the paint itself, and the geometry of the holder I constantly alter in order to get new results.
May it serve as an example a tondo, that, lacking those movement restricting vertices, grants me range in my strokes and other painting effects, usually unintentional, implying the next step, and so, the final point of view for that craft
But flexibility in the result doesn’t end there. It is in the middle of the process that the mind awakes when, spontaneously, previous emotional or sensory experiences emerge and continue during the development. This impressions require a full control to not to undermine the initial purpose, while the desire of holding on to a new idea increases.
Who wouldn’t want to say as much with two “syllabi” as Rothko did? Or undress the truth dressing the canvas with layers Clifford Still-wise? Or even feeling Pollock wreaking chaos until it reordered in an impeccable visual message? So many influences to be seduced by and repress as well, fruit of the sheer daily intake of signs, graphics, codes, crafts… Pictures and pictures our psyche is constantly imagining and reimagining.
All this makes me think that no craft ends identical to the expected, but, by contrast, that result is unique, and more original. That is a remarkable advantage in abstract art, for disregarding figurative mimesis.