Most used techniques: acrylic, ink, watercolour, pastel, but mainly oil.

Works are carried out with artisan passion, which almost brings them to a graphological reading. In all works, among all techniques, there is stylistic unity.

However, the oil paintings have a special connotation: the figures, the forms, which are mainly made of uniform stain, are blended in the contours; hardly ever the contrast of the colours is made with clean cuts. So, the sense of fusion of subject and background, of foregrounds and backgrounds colours, of backgrounds floors, seems to realize itself throughout the illusionistically represented substance.

Nevertheless the contrast between figures and background is noticeable, because the colours are alive on the subject, tonal, and sometimes listless in the distance.

The volumes in the foreground, generally, are highlighted by a very strong lateral light, which accentuates the plastic emphasis.

At this lateral light are added rays of light coming from other and indefinable lighting sources, which, together with the use of various transparencies, give an aura of mystery to the compositions.

The shapes are almost always deformed, they have a sinuous outline, and a black marked line in the shadow areas, which confirms the evidence, the plasticity. The deformation does not have only a meaning, overt or covert, of drama, but also of sensuality «a caressing hand, that press too much on the skin, changes the lines of beauty; in this way the brush seems to move».

The compositions sometimes have a classical equilibrium, to the maximum degree, with weights at the center or equally distributed, that create symmetries or rhythms of various degree; at others they not have a balance to the maximum degree, with weights in the foreground moved to a side of the field of view, giving deeper and clearer breath to the aerial perspective.

Expressive and imaginative purposes are as important as aesthetics.

Rainbows of recent paintings, in addition to the implicit chromatic and luministic connotation, remark, symbolically, the sign of reconciliation between God and man.

«I painted two or three abstract paintings, but no painter is more abstractionist than me in the combination of colours and in their application on the surfaces (almost never flat); I did not draw much, but few painters are more calligraphic than me: no one is as painfully musical as me in the moving definition of contours. I painted just few naked, but only few painters are sensual like me in refined forms, wrapped by very close lights. Cameras can not capture faithfully my works».

Ugo Bortolin Jbare