The glazing
I paint by glazing on raw enamel, with the tip of the brush.
It is a rare and exacting technique. You paint on the enamel before firing, while the surface is still raw and drinks the colour like blotting paper. The brush does not glide: it sets down. And what it sets down stays, because it cannot be lifted or corrected.
The colour is built in overlaid veils, one layer at a time, waiting for each to dry. Hence the name: velatura, glazing.
Then comes the fire. The kiln changes the colours, opens them, takes them where the raw pigment only promised. That is the moment the work leaves my hands.
The minute
My work looks into the minute. Each piece is an exercise in devotion where the detail, even the most infinitesimal, becomes the heart of the story: a wrinkle, a glint in an eye, the line of a sail against the sky.
This way of looking comes from far back. I grew up beside my father, who painted sacred cycles in the churches of Abruzzo, and there I learned that a figure stands on the particulars nobody notices. Then Maestro Luigi Bozzelli brought me into ceramics, which is the sternest test of those particulars.
Einstein · Glazing on raw enamel, with the tip of the brush · 30 × 30 cm
Commissions
I make work to order: portraits, plaques, commemorative plates, pieces for interiors. Every job starts from a conversation and a drawing, before the brush touches the enamel.