I paint my motorbike, for example. After a few years of work on this image what   emerges appears to me to be both clear and strange at the same time. I lightened the form by excluding a few parts which, in time, no longer appeared to be essential.
 Then, I concentrated on the body, on the idea of pure form that it contains, I chose the view of the profile because it is the simplest, the most complete and the most primitive and the dilation is up high; so that the background turns into a dramatic but not useless void. But all this is nothing if one does. not make use of it in the painting which must be kept very light, thin and tonal. 
It must also be very casual (the canvas stretched out on the floor is drowned in a very liquid distemper producing unexpected results). But all this is nothing if the painting is not done bearing in mind the subject-background relationship, bordering that boundary which, on the contrary, annihilates that dichotomy in a single substance. I would not know how to define this substance as anything else but " magic".
Andrea Massaioli (1991)