Self portrait, Acqui Terme, 2005.

The ‘PHONOFIGURE’ is the painter’s brush that moves the desired key of the piano.

We leave the strategies, sorties, ‘intentional’art to other virtuosos.

I’ve been there.

Live portrait of Pierre Restany at Mudima Foundation, Milan, 1997.

The ‘phonofigure’ is substantially different from the manipulations belonging to cinema, photography, and virtuality. In the ‘phonofigure’ the four elements, music, painting, theater, and video are truly indissoluble, no one precedes the other and when the work is finished, no one can manipulate anything, neither can I. But in the act of action between them they unite by imitation and similarity (Aristotle) in the competition of copying live the subject in front of the performer.

These are works for those who are tired of elegant ‘a la Duchamp’ settings of almost a hundred years ago, for those who are curious to share the risk of doing and wish success.

The difficulty in the execution

The story tells that in Greece the painter’s skill was measured not in the figure, but in the ability to draw the thinnest line.

The sensitivity of the hand, the domination of the medium and everything else. Harmony. In this sense I consider the ‘phonofigure’ as a kind of ‘orthodox’ en plain air live, copying, with the hand, on the canvas; strong, medium or pianissimi the hammers on the strings… suddenly you recognize the similarity and the melody…