Toodì, The arts master’s son, moves his first steps in the artistical world when he is about twenty years old. The next period, he gets away for a long time from the arts world to get closer with the work environment. Experiencing a lot of sectors, he learns the knowledge and the technical expressions, completing, by this way, his own knowledge and applying new models of study. This will be used as technical and basic materials for the majority of the future works, obtaining the artistical manufactures that will distinguish him from the contemporary expressions.

In his atypicalness, Toodì rejects the artist identity, calling himself modestly, “the creator“ ; tight definiton for his future choices. Strong about his knowledge, he is taking back his own production choosing basic colours by oil from superfine paste. He will use it as basic material applying and elaborating it for a lot of dehydration phases, putting under the light the first results about volumetric studies. The equipment necessary to obtain shapes and dimensions of the (chromatics) elements, derived from the “ad hoc design”, wich enables the approach to exclusive effects. The technic is quickly abandoned for letting space to new games of abstract volumes, with complex innovative and monochromatical (uncoloured) shapes. The most important creation of a new expressive period, by Toodì is ”The tunnel of beyond”. This work marks the sunset of the colours blending and the begin of a new pigment, phosphorescent, a little noble, but crucial to the search of the conceptual expression. The artist uses this material to create a series of concentric circles, wich represent a big umbilical cord, like a “viaticum” to a place where the essence of life floats, without physicality, time and conscience. The special interest for the human nature, seen like an entity, does not stop him at the mere creation of paintings, but for Toodì is the analysis who will see him engaged in the development of a new literary unpublished testimony. During this period, when the contemporary art keeps talking through the union of past and present technics, without revealing a new substance, Toodì reliefs his knowledge to give canvas a new artistical dignity: no more a nude painting, but a living sculpture. he hardly ever reflects in his creations a classical schema, but rather a spatial dimension and a partial extension of bodies. The canvas will not catalyse the thoughts in colours, but will give space to a metamorphosis. Perspectives, the twisted shapes and landscapes will let the primordial place to the real sculptures. He will raise to the light the technics and knowledge to reach the realisation of a unique masterpiece. The tridimensional canvas image, will take a human, real look, bringing again the desire of life, closer to the essencial human needs. Based on the univers expansion paradigm, wich subtracts the space to nothing, Toodì recognizes in the behaviour of human beings, the genetical bond between the stable laws of the unknown and the pragmatic earthly existence, recreating with the fabric the eternal expansive motion. In the “Escape from civilization”, the canvas symbolizes the wall, who moulds under pressure, taking the shape of a human face, without breakup , banishing, perhaps, the human being in his ineluctable daily reality.