Italian painter Antonio Greco finds himself in a charmless world of technology. In "Senza Eroi," his solo exhibition at The Balcony Gallery, he paints a path back to childhood. For him that world was lucid, naive and poetic — where enchantment lived unencumbered by knowledge.

Born in Imperia, Italy, in 1957, he grew up with his grandparents in the fishing village of Vernazza, on the Italian Riviera. After living in Prato, Florence and Milan he returned to his hometown in 1999, where he lives with his wife, MichEle Lilley, and daughter, Magdalena.

How did he wind up having a show in Kailua? Greco has a direct link to the gallery — Maya von Geldern, daughter of Balcony Gallery director Linda von Geldern, runs his Bottega d'Arte Cinqueterre gallery in Vernazza.

"We felt it was time to bring something fresh and different in," says Linda von Geldern. "But we've already had artists from London and the Mainland show here as well. We have not defined ourselves as exhibiting only art from Hawai'i."

"In a world without heroes, the hero does not speak because no one would listen," Greco writes in his statement. But in this show, the hero may just turn out to be Greco himself. One can't help but "listen" to his paintings — his intuitive, expressionistic paintings speak forcefully, with reds and oranges and bright yellows softened only occasionally by sky blues. Underneath the thick black outlines that define childhood memories of houses, dogs, tables, toys and rocking horses, he collages the pages of books and other found images, and tops it off with Italian words.

Originally a poet (in the 1980s, Greco left the University of Florence one exam short of earning a degree in architecture), Greco published three volumes of poetry, prose and short stories.

But a meeting with artist Johannes Hoffmann changed his path. Hoffman told Greco: "To be an artist is craziness, but when you coexist with art, you are almost always happy." The words became a credo for Greco in his pursuit of the artist's life. He has no formal art training and has exhibited throughout northern Italy.

Q. Were you artistic as a child?

A. Yes, I always made pictures. When I was 12 or 13, I won second place in an art competition about the Epiphany. I drew a landscape in pen and ink, and the teachers liked it so much they gave me the prize and published post cards from my drawing. (He laughs.) It had nothing to do with the Epiphany, but they liked it anyway.

Q. Did any artists inspire you?

A. The first form of art that drew me in was the old ex-voto (a votive offering) that hung on the walls of the sanctuary Madonna di Reggio in Vernazza. Later, I would have to say, it was Picasso. He was always changing and inventing his own periods. He wasn't so cultured — he was more like an animal of art. Passionate. His most beautiful quote is, "I don't look for it ... I find it." I also like Rauschenberg, Modigliani and the colors of Cezanne.

Q. Is this your first time in Hawai'i? What do you think of the art here?

A. No, we've been here twice before, but this is our first time on O'ahu. I visited many of the art galleries in Lahaina. I didn't like the touristy paintings. I haven't had a chance to see the museums and other galleries on O'ahu yet.

Q. Do you do artwork when you're on the road?

A. Yes, when I travel, I find inspiration through other artists. I get new ideas and collect images for my work. After two days on holiday, I have to make something.

Q. When you are home, do you work in the studio every day?

A. Yes. I work at night, as well, sometimes all night long. I have had to change some of my habits, because now I have a wife and child. I'm more disciplined now. For the past six years, I have been making a living from my artwork and supporting my family.

Q. What motivates you to paint?

A. Images. Sometimes I see an image and I use it for a collage, and that starts the picture. In this body of work, I used pages from an old book of technology. I used this because it is like a soul coming through, and my paintings speak about a reticence of technology. Mostly, I work from my photographs and other found images. The image gives me the inspiration. It is always a problem when you have the shock of the white space to fill and you have to draw, or to begin.

Q. Are you saying that in many ways you coax the painting out of the canvas or paper?

A. It comes from the heart. You don't need to know everything. The enchantment of something comes to you and you do it. I make assemblages, furniture from found objects. The objects dictate the direction. I interpret it. I don't work with power tools. I prefer to experience the artwork or assemblage evolving more slowly and simply.

Q. Many artists shy away from using red. You obviously enjoy using red in this series.

A. This kind of red is made from two reds, an orange and yellow that I mix. I like it. Many artists think that yellow is difficult to use, too. Who knows, maybe in one year I will stop using this red. One English artist told me he would make me fall in love with purple. I told him I will fall in love with it by myself. But I haven't yet. You have periods.

Q. Which painting is your favorite in this exhibit?

A. "Red House." In many pictures, I use more red and more color, but in that picture I stopped because I felt that there was an equilibrium. ... This picture said to me, "It's enough, no more colors."

Q. What advice would you give a young artist?

A. Always say the truth. Not only speak the truth, paint the truth. The truth is not the same as honesty. In truth, there is never a middle ground. You accept it or you don't. And when you make art, you can never think of money, or you are sure to go wrong.

Victoria Gail-White's artist interviews run the last Sunday of each month.