安东尼奥在他非常年轻的时候就意识到他对艺术的热爱—关注, 阅读相关书籍，并潜心研究艺术。在瑞士举办过几次成功的展览后，他发现自己作为游轮的摄影师和艺术总监，他日出而作，观察世界，收集有价值的图片，积累经验，整理素材。

游历过中国和其他国家的许多地方后，安东尼奥来到了武当山，开始审视自己的人生，并决定献身于油画艺术创作的一种新风格，他称之为“结构主义”，对其投入了大量的实践和研究，这种画法时而为纹理结构，时而由其他结构划破厚重的色彩结构。

他之所以选择创建自己的艺术为“结构主义”，因他自孩提时代在博物馆首次见到厚重色彩创作的艺术作品时就为厚重色彩和纹理结构所陶醉。

这些结构使观众不仅因强烈的意识冲击而唤醒，并且当下体会到身心合一的体验。最终使观众体验到自童年时代起甚少能遇的奇妙幻想，隐幽秘密和巨大喜悦迸然显现。

安东尼奥的作品中许多方面有明显的结构元素，他作品的许多想法来自于他的经历，旅行和激情。他的设计经常在冥想时显现出来，直到他发现了一个很吸引人的图像。他将注意力集中于这一设想的图像，并开始在意识深处开始绘图，完善其设计和颜色的轮廓，从而实现非理念化的艺术品。然后他将进入睡眠，在梦境中进一步完成他的作品。次日凌晨，他会将梦中的构思快速素描到一张纸上，然后放大草图到想要的大小并描绘所有的细节。

通常他作品的形式给予各种解释的可能性：安东尼奥绘出头部的一个轮廓，图形，在瞬间，观众可以从绘画中自己去看到想象中的图像，或是佛陀，或是心目中其他神祗，或至少能感受到他内心神圣的源泉。

我们有新现实主义中的“韦迪”，现在安东尼奥填补了无意识与意识之间的空白，激活了想象和魔幻魅力，唤醒了创造一个更美好的世界的梦想的可能。

At a very young age Antonio realized that he had a passion for art – he looked at it, read about and studied it. After a few successful shows in Switzerland he found himself following the sun, seeing the world as a photographer and art director on cruise ships, collecting valuable insights, experiences and impressions.

Having travelled many parts of China and the world, Antonio went to Wudang Shan to refocus on his life and decided to dedicate it to the creation of artworks in oils in a new style he calls “Structursim” that he had developed through experimentation and that consists of diverse, sometimes very thick structures that are sharply cut by other structures.

He chose to create his art in “Structurism” because he is fascinated by oil paintings with structures or thicker layers of color since when he was a boy.

Those structures make that the spectator not only awakes in a fascination that challenges the consciousness, but is also set in the present moment that aligns body, mind and soul. Moreover the viewer experiences emotions that he did not or just rarely feel since childhood and is connected with this time when miracles, secrets and joy appeared abundant.

There are many aspects to Antonio’s art besides the obvious element of structures. The ideas to his works might be influenced by his experiences, travels and passions. The design however comes to him in meditation when he browses through his imagination until he finds a very appealing image. He will focus on this vision and start painting it in his heart and mind, perfecting the outlines of the designs and the colors in order to achieve a non-altering concept of the artwork. He will then sleep and work on it further in his dreams. In the morning he will sketch it quickly onto a piece of paper and then enlarge this sketch to the size in which he wants to create the artwork in all detail.

Usually his forms give the possibility of interpretation; Antonio gives but the outline of a head, a figure and suddenly the viewer can see himself in the image, become the Buddha, connect to his inner God or at least sense his divine origin.

We had the “Vide” of the New Realism, now Antonio fills the emptiness with the unconscious being brought into the conscious, activating imagination and fascination, awaking dreams of possibilities and ultimately creating a better world.