The emerging artist Nicola was born in Venice. His approach to painting is casual, spontaneous, for about twenty years he decides to paint without any technical knowledge.
The first worksare sketches, attempts, chines, abstract watercolors, dark architectures, tangle of paints of a different type. He begins experimenting, the desire to get out of the schemes, to create something original, but it’s all a bit confused.
He begins to feel the need for a subject to convey all the pictorial energy, so here are the first canvases, all naked women.The figure is stylized, sometimes just sketched with the pencil, the face is absent, the complexion reflects the pallor of the canvas, the pose is lush, soft. These figures dance, swim, walk in extremely vibrant, full-bodied areas, geometrically defined areas, which capture the seductive curves of the subject. So oil shades, shiny, opaque surfaces and the search for a more decorative feature of the work appear.
At the same time as the study of pigments and various binders, oil as well as resins, acrylics, etc., the awareness is growing that he can give the picture a plurality of narrative lines: new subjects, most likely imaginary landscapes, are painted on coarsed canvases. The paintings begin to protrude from the wall with an exaggerated thicknesses of the rough hard exoskeleton and then they are mutilated by scratches, engravings that determine the guidelines of the narration. Juxtapositions of surfaces worn out by repeated cancellations or mutilated by the insertion of small stones which always show the underlying work. The work is not finished if it is not chewed beforehand.
Subsequently, the color, first relegated to the background, then sprinkled on discontinuous surfaces (often through the use of a rag), takes over and goes to make up the work itself. Here, oil-colored layers, directly squeezed from the tube and shaped, create round, jagged plastic surfaces that draw slides on which the eye runs, but also the hand.
In the last period, all the work done so far is destroyed. The shapes, the shadows, the bas-reliefs, in short, its creatures, rebellious, tired of suffering, try to break away from their support but their efforts are out of the ordinary. They are immediately caught, imprisoned and fused into the substrate with new materials so that they become the surface to be painted, scratched, burned, worked. It is possible to see then the creation of a new order, the search for a balance in chaos, in disorder, in the rubble.