My serigraphy works came about after meeting Fiorenzo Fallani. 

Without having a direct contact with the substance, it was as though Fiorenzo had become my hand, a link that made the colour appear.

Working side by side, I never touched the coloured inks but guided him, indicating or accompanying his actions with words to bring out a certain colour.

I treated serigraphy like painting. All my serigraphic works are unique pieces that cannot be reproduced. My painting technique corresponds to this technique. Two ways of proceeding that corresponded. Stratifications of colour. One colour on top of another, on top of another and so on. The so-called progressives that serigraphy artists need to reach the final construction of the image enter wholly inside my work. The progressives show the trajectory of a process step by step. You start with one colour, which is superimposed with another. This sequence is repeated many times with different colours, sometimes even surpassing the numbers allowed by the technique itself. I take the technique to extreme consequences, in some cases even producing a cracklé. All of this process is like a walk consisting of lots of traces in which each footstep is already whole, each colour is already a whole and each single step is added to the rest by superimposing itself.

Translated into numbers:

1=1, 0+1=1, 1=1, 1+1=2, 1=1, 1+2=3, 1=1, 1+3=4, 1=1, 1+4=5, 1=1, 1+5=6, 1=1, 1+6=7, and so on

Translated metrically:

A, A, B, (A+B), C, (A+B+C), D, (A+B+C+D), E, (A+B+C+D+E), F, (A+B+C+D+E+F), G, (A+B+C+D+E+F+G), and so on.

(Written in 2013)