How did you become an artist?

While attending the Academy of Fine Arts, I realized that the Artist should be the one who moves a boundary, who creates new forms, rich in content. Since then I have tried to work in this direction. The artist sets new thresholds, the limits must be continually exceeded. Surely the fire driving my actions flows this way. Therefore, I tried to find the strategies to shape my visions and then to rightly convey them, with suitable travel companions (art galleries and other collaborations).

what do you like more of creating art?

I love getting my hands dirty, building my objects, make visions tangible. This is what I love most: the moment when I move from the idea to the actual DOING. I start from experimentation. Above all, I start with the need to translate content into form. This need drives my search for right strategies, for ways I can give voice to the image I am creating. I have always had the feeling that I should learn to work as many materials as possible, so as to be able to have them converse.The constant challenge with resin, which I frequently use,  has been to combine such an unemotional material with an expressive language wishing to be full of wonder, freshness and poetry. Everything must seem “easy”: hard work behind it must not be noticed. I take great care in reaching this goal. I tell of worlds suspended in metamorphosis, and place myself in that instant of transition between painting and sculpture, a hybrid place allowing me to experiment with different means of expression.

What is your greatest inspiration in life?

The micro- and macrocosms, along with the concept of metamorphosis, in my work are both a constant and a mixture of several things. In nature, and from nature, I observe. I listen. I ponder. I re-elaborate. I am interested in the moment of transition from one state to another, between different conditions, and I share an attitude very close to alchemical science. It is the transformation that has all my interest, and I try to freeze that precise instant in time and space, through the resin, creating what I call “dynamic equilibrium”. The operation I perform is not so far from the transmutation of one matter into another. My many splashes of water, liquid architectures, butterflies sculpted in the resin tell of an expanded time, in which the shape has the value of a mandala. My perception of time is quite dilated as, in all my attempts to stop its flow inside the resin, I try to focus in the moment between what it used to be, and what it could be.

What is your goal?

My main goal is to move forward even further at work: my whole life has been based on “exercise”. Continuous exercise aimed at improving, and overcoming the previous steps. This is what takes my breath away and at the same time saves me. It is always a matter of moving the boundary of the known into the unknown, and to do this you need to be trained. Then there is an infinite series of poignant, devastating, distressing moments while I work, and few when I can perceive in my hands, in my heart and in my mind that something of what I have done has a special energy; yet these few moments pay me back. I hope one day to bring this energy into a large museum; this would be my goal.