I believe that the leading motive of my work is the perception of human presence in the environment. In the first series of my paintings, the bedrooms (1994-1999), I focused on the footprints left on the bed by human bodies as signs of their presence and descriptions of specific existences in a private environment. I used the mountains, the skies, and the trees (1998-2000) as symbols also used by the religions. In the folds of a wave, or the wrinkles of a mountain, I wanted to allude on the hand that has created them - for those who believe - the hand of God, whom we can consider as the first man since He created us in his own image. In the figures and the crucifixes (2001) I affronted the human body as the principal subject. I tried to give weight and volume to the body and I eliminated every reference to the external environment by immersing it into darkness. By doing so, I wanted to highlight the important difference between humans and other living creatures and how grave is the responsibility of humans as dominator of the world. In the destroyed cities (2001-2005) I presented one of the consequences of this responsibility, namely the human destruction of their own environment and what they had created in the environment. Finally, in the most recent series of paintings, No Man's Land (since 2005) and Trash (since 2007) the presence of humans is no longer evident or it appears only remotely: sometimes it can only be hypothesised.