I let the silence invades me and then it happens that visual poetry emerges, white on white.

Carving is not only cutting.

I do not cut off and compose with glue; I simply carve – cut ‘n lift, cut ‘n lift… – in real time with a blade only, white on white, in a sort of meditative state. Not a single bit of paper is cut off from the paper, which is a single sheet of thick paper for watercolor. I sculpt the paper by carving it with a surgical blade, and that’s all.

Every work is uniquely inspired and there is no copies, neither a pre-production study. Especially for abstract themes, I do not pre-study the composition: everything appears in the moment I carve. It’s about being in the presence of the Self.

The paper I use is warm white (slightly ivory) and beauty is revealed by shadows and light, creating emotional effects through miniatures of the bas-relief.

This makes my work extremely difficult to be photographed, because of the miniature, the result it’s often a plain white paper! These pictures have been taken with a non professional camera, and the intent is to explore the potential of this technique’s beauty: colors change completely depending on the slant of light and paper, revealing natural ivory shades from inside the bas-reliefs, on the plain white paper.

My parallel path as sound healer therapist deeply influences my activity: the amount of harmonic frequencies that my body has in the moment I do carving, manifests hamonia, made visible by the shape of logarithmic spiral, varying from very ordered patterns to “caotic” panoramas. In each case, the subtle frequencies are always present, both from the smallest details to the general composition. From people’s reaction facing my artwork, in person, I’d say that my artworks can communicate to the emotional level of human body – that of the heart – like do the singing bowls that I use in therapeutic sessions.

 


Blades comes from my dad, a doctor.
White from my mom’s candor.
Poetry from my grannies.
Therefore, my creativity is a family gift, and I hope to honour their memory in every piece of art I create.

Q : Oh my! How do you do it!?
With a scalpel on thick watercolor paper, I simply cut ‘n lift, cut ‘n lift… in a sort of meditative estate, without any previous design… Just letting flow, lettin’ flow… and magic appear.

Q : You must be patient!
Being in a meditative state I don’t feel restlessness or boredom. The only “negative” aspect I suffer is pain to my wrist and fingers, after a couple of hours.

Q : How many hours does it take to create one piece?
I cannot really answer to this because every time is different. Not having a design in mind, I don’t know if it will finish after a while or after having filled the whole paper. It also depends on the style of bas reliefs that are coming out, some style take more than others. And mainly, it’s related to the state of connection with the inner self: the best it is and the quickest it flows.

Q : How did you come upon this as your technique?
It’s a matter of personal life path. You can read my story in the blog.

Q : What studies have you done to arrive to this form of art?
None. Once I asked to myself: “what if I stop thinking and simply let this inspiration start forming on its own?” From there, my inspiration begun, and putting aside all expectations it makes possible have a flow of special energy that manifests the subconscious in this incredible Beauty of miniatures.

Q : What does inspire you?
Japanese art is something that’s naturally emerging from inside me and I wish I knew why, because I’m also fascinated by roman baroque and its use of shells and curves, that’s exactly the opposite!
Anyway, it’s a matter of state of being, so everywhere I can receive Beauty – like Nature, sound, paper, but also a person – contributes to put me in that particular state of gratitude/openness to be able to receive inspiration.

Q : What makes your technique so epphimeral and delicate?
I reckon that the secret of the Beauty my artworks express is that they contain harmonic paths, made visible with logarithmic spirals by the paper, and carving is only another manner to “play” harmonic frequencies.

Q : I like a specific artwork but it’s not available for sale. Can you do it again?
I wouldn’t be able to replicate it even if I’d want it. Every piece it’s a surprise for myself first. Being inspired art, created in real time, every piece is unique and unrepeatable. So precious like the unicity of a moment.

Q : How do you decide the theme of each artwork?
The constant practice of self awareness and harmonic sound activities highly influence the quality of the carving results: I understood that the quality of the vibrations that our body emanates contributes to make the difference. The quality of the output of my artworks are the visible evidence of the state of my physical state of being.

Q : Can I ask you to do something I like?
I work on inspitation, so only my muses knows what kind of output it will be! I keep finger crossed and welcome the gift in the unicity of what it represents.
I prefere to work on commission, so that every piece can be created especially for that person, with the aim to bring spiritual beauty in his/her life.

carved paper with different illumination

 

 

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