Abstract
Summoning the faces of loved ones to the brush increases the concentration of gestures. The sentimental reason always motivates the making of the painting, it participates in the choice of elements that constitute it and, above all, it determines who will be the ideal spectator, the recipient, "who" is, in a way, "the reason for the painting". Every technical choice is above all born of "affective matter". A certain inner sadness will call for dislodging, while a certain moment of courage will call for bold gestures. In the silence of the painting process, many caresses and disappointments are experienced, relived or promised. Finally, painting others is always about loving them, electing them and moving them.
