Inventio Laboratorio

Before devoting myself fully to painting, I worked as an inventor in the field of molecular transformation.
My research resulted in more than thirty patents, ranging from homogeneous catalysis to polyolefin catalysis, a process now applied worldwide in the production of advanced materials. Other discoveries found use in bulk chemistry, pharmaceutical intermediates and food-grade vitamin processes.
Each invention began as a question about how matter behaves under pressure, heat, light and time.

Although this chapter of my life may appear distant from art, it is, in truth, the foundation of my laboratorio.

Like the Renaissance masters who united invention with image, I do not see a boundary between art and research.
Da Vinci explored the body to understand light; I explored catalysis to understand transformation.
Invention and painting are not separate paths to me. They are the same gesture, the same devotion to the mysteries of matter.

That devotion continues today within my artistic practice.
In the laboratorio I develop new pigment formulations that function as contemporary equivalents to historical materials such as lead white and vermilion. These pigments preserve the optical depth and luminosity of the originals, while avoiding the toxicity and long-term instability associated with traditional compounds.
What science once taught me about purity, reaction and resilience now guides the way I shape surfaces that breathe, endure and reveal.

The insights I gained as an inventor return in every layer:
in the crystalline depth of pigment,
the skinlike radiance of oil and tempera,
the breathlike smoothness of gesso,
and the permanence of hand-coated photographic sheets.

I never stopped inventing.
I simply changed the medium.
Alchemy became art.
Matter became image.
And invention became devotion.