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It's part of a series I've been working on for a while, all painted in wet-on-wet oils, alla prima, without any preparatory drawing. I'm interested in that suspended moment when people are nowhere: on a train, on the subway, under a shelter. They're not going, they're just passing by.
Here's a boy from behind, his head bowed. I didn't need the face, I needed the attitude. I captured it in a few strokes, with a loaded… brush, while the paint underneath was still wet. That's why the contours vibrate, the city lights drip onto him—that orange-yellow of the streetlight mingling with the cold green of a sign, the background blue almost black with smog.
I work wet on wet because I don't want to correct. If I mess up a brushstroke, it stays. If two colors get smudged, it's real life happening on the canvas. In Commuters, I'm looking for exactly this: the imprecision of the memory of someone seen for three seconds.
Giuseppe Aveni, a self-taught and instinctive painter, works primarily on canvas using oil paints, palette knives, and charcoal. In his portraits, figures, and seascapes, he blends Impressionism with Expressionism through textured brushstrokes, scratches, and drippings, embodying emotions through strong color contrasts. His works convey an intense and vibrant human truth, leaving a profound emotional impression and a reverberation of color in the viewer's memory. A painter since his earliest days, he has been irresistible. He rarely participates in any artistic association. When asked about his artistic career, he explains: "A work of art lives its own life, distinct from that of its creator. Talking about it is pointless."