Born in Rome in 1955 I live and work in  Turin (North of the Italy is the place of last winter Olympics games and, over all of the FIAT).

I call myself a metaphysical or Pop or expressionist painter, it depends the moments and circumstances. 

Sometimes I define my paintings as  “freak 'n cool.” 

Maybe I'm an existential painter. 

In Second Life World I have an Alter Ego named Perfect Miles : he's a painter too. 

I had an exhibition in NY in 2001 then many exhibitions in Italy.

If you travel through Turin, Italy,  please send me an email: I'll be proud to show my Paintings in my studio downtown: iit is a fun place because in the night there is a big movida. 

Following, is an interpretation of my stylistic research: you can understand it only if you know Italian (sorry)
Self pictorial (synthetic)

The research style in painting is to be conditional to the existential, so it is a means and not an end.

The pleasure of handling the matter and color, the enjoyment in achieving a number of representations of reality - exterior and interior - are making marginal style and technique used, compared to the satisfaction of the need to outsource which is at the root of artistic expression.

This is to bring order to the infinite pieces of the puzzle that make up the existence and perceive that all on different floors and levels: from the conscious to the pure vision of intrapsychic reality "other."

The objective mastery of technical means and the diversity of the expanding range of perceptions reproducible and the degree of accuracy of their interpretation: the skill element is therefore not alien to this concept.

This artistic vision opens the doors to both the planning as all' is instinct, on which channels you can route, alone, if it is the strong inclination of the artist in one way or another, but also when either the eclecticism of the subject permit.

The research scope of my painting is the attempt to understand the meaning of life, existence of primary investigation.

The continued rebound between informal and figurative is the result of a vision that identifies the dividing line between the 2 poles (Yin and Yang, real and unreal, rational and irrational, social and mystical, etc.) as the limit beyond which no variables are more controllable.
 
Imagine a landscape reproduced with great fidelity.

Creativity, the artistic message, can occur by selecting the angle of the light, subtle variations in color than the original: an interpretation that, without foreign reality described, the gateway to the emotions, feelings, memories, of intent ' artist.

We continue to add items to personal interpretation, other variables those which are objectively observable and anyone in the landscape itself.

The elements may be distorted, altered colors, compared to the perception the media, for personal items of those described.

The image can be altered in a very strong way. 

If we continue to add elements, the image can completely disintegrate and be lost to the observer any reference to the reality described.

Understanding of the outside by observers, or at least the feeling of empathy with the work depends on the amount of elements that the observer is able to perceive them, in turn processed, even if not necessarily with the same valence of the creator.

The same process can operate in turn.

From pure and instinctive flow of images and colors, track the rational motive.

From the stylistic point of view, therefore, I could summarize my research as an attempt to find the point of transition between figurative and abstract, understood as the boundary between rational and irrational, from two opposite: break-up of reality for saturation elements and recomposition thereof through the synthesis of the largest possible number of elements found.