In 1980 I went back to painting.

I had been in Paris five years by now. I completed a series of large paintings based on Goya and Velázquez. In 1968 in Rome I had already spent a year copying (from photographs) these two masters, making drawings and wax sculptures. These new Paris variations of Goya and Velazquez were a sort of personal/impersonal artistic re-anchoring.

From this time on, until the end of the eighties, my paintings were intense, violent and colorful, navigating between the edges of realism and abstraction. Landscape remained a definite leitmotif. The images were accessible in terms of recognition, and they were clearly also about visual grammar.