Description

In 2020 I started experimenting with the WHITE ON BLACK technique, very distant from the BLACK AND WHITE technique that I prefer. It is a game of opposites, it does not involve the inclusion of too many details but it is still another type of monochromatism and another way to give importance to the details, this time in their simplicity: their importance becomes even more significant and worthy of Attention.

The figures, subjects, images emerge differently, in relation to the light.

A kind of liquid light that makes us and the subjects drawn, different and suspended beings and entities, suspended in the moment of a glance, of an emotion, of a temporary glow.

I personally like this game of contrasts a lot, it allows me a different approach, especially in terms of time but also of spontaneity, while remaining equally constructive.

A thousand emotions can be associated with the play of light and backlight; personal emotions and meanings, but also symbolic ones.

Never be afraid of the shadow: it is there to mean that nearby, somewhere, there is also the light that illuminates!

Carry with you the awareness that wherever you go, no matter what the weather is, you carry your light with you!

It's delightful to be immersed in the backlight.

When backlit, people are like stained glass windows: they sparkle and shine when the sun is shining, but when darkness falls they reveal their beauty only if there is also their own light inside.

Light can be delicate, dangerous, dreamlike, naked, alive, dead, foggy, clear, warm, dark, white, blue, spring, falling, straight, oblique, sensual, limited, calm and soft. And we could go on and on... but now I also remember one of the most important aphorisms or concepts of life, expressed by Leonard Cohen. "THERE IS A CRACK IN EVERYTHING AND THAT'S WHERE THE LIGHT COMES IN".

There are images that are not made for light. And some dreams know it!

Here's what I feel using this technique and observing the result that, for now, I manage to obtain.