The first phases are: research, washing and anti-woodworm treatment of the “woods,” which are fundamental parts of my works of arts. My friend Danilo carries out the research in his “kingdom” among the hills of Romagna. I spend hours there looking for that one detail, which could ignite the spark. Not always do I find something on the first trip. Then I go back to the laboratory (studio) in Cesenatico, where I have a garden, I wash the woods by brush washing them well. I leave them in the sun to dry for a few days. Then I get ready for the woodworm treatment. Once they are soaked in the liquid, I wrap them well with plastic sheets, sealing them. Then I have to wait about a month for the woodworm treatment to take effect.
The second part of my work consists of taking off the nylons that were wrapped around the woods during the woodworm treatment phase. Once I have freed the wooden support from the nylons, I check it and decide if it needs sanding and start cleaning. Some woods have paint that would flake over time in a few parts, so I immediately try to remove them, prepare the surface, make it as stable as possible and then create the mosaic. Some surfaces are reasonably clean; others need to be cleaned more carefully, especially between the wood’s interstices. In some cases, when the wood has been gnawed a lot by woodworm, it is necessary to use compacting glues to make the wood more stable.
Then comes the part of creating the mosaic.
The first part is cutting the tiles. I already have a sample collection created over the years, with a small hammer and a “standard” mosaic trap, which I then retouch and modify during creation. I cut every material and color by hand, creating tiles of the measurements I need for the picture I want to create. A distinctive feature of my art, are the materials I use in addition to those of the mosaic such as: smalti, Venetian gold, stones and marbles to create the three-dimensional effect and depth. Therefore, you can find parts of rusty tools, pieces of furniture, antique crystals, porcelain experiments, etc., to obtain the desired effect, which is fundamental for me. Each wood is for me like a canvas for a painter. I draw a pencil sketch of what I want to do and gradually spread the glue and apply the tiles. I never do preparatory paintings. Once inspiration arrives, it’s already all in my mind. As I proceed, I already have the vision of what I will create, the shape, shades and materials. Once the mosaic has been created, I wait for it to completely dry and then, the final touch, I treat the wood with a specific product that nourishes it and enhances its colour.
