Figures

The human figure is always mysterious, which is why it's so intriguing to explore it  as a subject—along with everything that surrounds it and what it generates. 

On the canvas, I try to strip away the horror that permeates our lives, whether it’s close by or far away. 

Reality is often unbearable, and through my work, I find a moment of detachment from it.  I hope to offer that same distance to those who look. 

In the people, in their faces, in their backs, in their profiles, there is no intentionality, no pose, and no calculated gesture only just what  they do indifferent to whoever momentarily is observing them or passing them by.  Getting too close to certain faces gives you the feeling  you are being invasive, bothersome. But to get these reactions Fiorentini’s manner is very distant from hyperrealism; his is a softened linearism,  exuding perhaps a sense of modest reserve with regard to the image.  Like saying, if you paint too closely you risk being noticed by the others.

Andrea Mello

In the portraits faces appear on the canvas like coming from faraway, evocative, pale, tender figures from Hades. They remino us of a bygone and remote life. Like the ancient frescos, contours are well sketched out, they will stand time; precise lines hold the volumes, but the color seems evaporated, faded even or veiled; in some paintings it widens into spots which seem to come from dampness, mudding the contours.

Like ancient paintings these works speak, giving us a subtle emotion of a world that existed and does not exist anymore, of a life that comes

to us like the warmth of a distant flame.

Luca S. Verrone