As a Franco-Italian painter and draughtsman, I am recently fascinated by bullfighting, to the point of having dedicated two successful exhibitions in Paris to it: a solo exhibition in February 2025, followed by another in November alongside taurine artists from across France and Spain.
 

Present at the second edition of the Brindis d’Oro ceremony in 2025, in the company of numerous European aficionados — including Simon Casas and Léa Vincens — I had the honour of offering and presenting nine of my original drawings to each of the award winners, among them Clemente and others.
 

One of my works particularly caught the attention of Bernard Picasso, grandson of the iconic painter and owner of the renowned collection of his grandfather’s inks showcased in the Málaga museum — a collection that has strongly influenced my Nîmes series.
 

In my work, bullfighting becomes a motif serving the painting itself: the animals, the costumes, the geometric forms of the arena, the crowds, the matador’s solitude, the ritual and the death of the bull all contribute to a sacred liturgy, far removed from the monotony and colourlessness of the contemporary world.
 

From the calm of my Paris studio, firmly rooted, I cannot help but compare my art to the elegant dance between matador and bull, both facing death, where every gesture — however graceful — risks everything in the hope of capturing a fragment of eternity.