My generation is experiencing the awakening of a very strong green conscience, perhaps not very militant in the squares but deeply felt, it is expressed with more conscious and eco-sustainable choices but above all in the search for green spaces where to run, stroll and live.
It will also be the pandemic, the contact with nature that we missed during the lockdowns, the more time we had to reflect on the scenes of fawns running on the beaches of our coasts abandoned by man, but the call towards outdoor life , the request to fill our eyes with green like that of filling our nostrils with the scents of the meadow and the forest has expanded.
It could not have been otherwise since we are naturally attracted to the earth, by the need to touch the sand to place our hands on the trunk of a tree, as if this would allow us a deeper connection with our environment. After an infinite time in which we assumed that we would always enjoy the embrace of the forest, the song of the seagulls or the myrtle-scented breezes, now we begin to reflect on the not too remote possibility that all this could end, we are aware of the fact that our life consumes more resources and energy than it can produce. So we try by differentiating waste, buying biodegradable products, when we succeed we get around by bicycle. But above all we try to cover our home with a green charm, those who use natural or recycled wood for furniture, those who discover a green thumb, in any case nobody seems to be indifferent to the theme.
A good way to give yourself a chance is to start, and then find the path that is most congenial to you.
For me, starting to paint plants was revelatory, my passion for cacti has resulted in a number of controversial subjects as just a cactus it can be: round, very green and vital but surrounded by spines that more or less effectively protect it at the expense of our very human instinct of wanting to touch things. Another extremely fascinating natural element is the Monstera Deliciosa already controversial in name. I decided to cultivate it to be able to understand why it exerts such a strong magnetism on people, but above all to grasp its essence in the painting, I did not imagine how much strength its roots could have and how vigorously they push themselves out of the earth to be able to support the weight of its large leaves. It grows decisively filling the space in an all-encompassing way, transporting you to the forest with the thought just by looking at it, enthralling. So I moved the brush towards nature  as if it were the extension of my hands that touch it, painlessly caressing a cacti or containing a Monstera with difficulty in space, a wonderful game. I made these paintings with acrylic precisely because it offers a fluidity of movement that simulates a caress, the somewhat vigorous touch of childhood together with the ability to grasp the typical structure of the adult hand. the backgrounds are neutral and anonymous precisely to place the green element under the magnifying glass, as often happens in photography, when you dwell on a detail and everything around it becomes useless, in the case of photography it is expressed with blurring in the case of these canvases with the complete elimination of the background, di  so as not to be distracted by the subject who in no way shyly takes the whole scene for himself.