My works are the fruit of work experiences linked to the "factory". A place that characterizes my land. Yesterday's popular workshop is a synonym for the production of exclusive artifacts, where craftsmanship is combined with the materials of the present.
My father, a model maker and footwear creator, was the first to go along with me in creating forms with materials that are difficult to find but widely used in the local footwear sector. In fact, latex was the material I used to shape the first ideas. Subsequently, the passion for the technique that uses this material, led to create forms for third parties, in some companies in the area, allowing me to perfect the molding techniques with silicone rubbers with cold cross-linking and those of fusion with a wide class of different and complex polymers. In this context I started to learn about materials and use them outside the district context. At the same time, the studies: the Art School "Osvaldo Licini" of my city, where I learned the basics of drawing and modeling; Then the Academy of Fine Arts of Macerata; finally, the teachings of contemporary masters, from Arnaldo Pomodoro to Giulio Paolini, from Jannis Kounelliss to Van Lieshout.
Nowadays, making sculpture, that is, putting matter into shape, is the synthesis of my training experience, which allows me to translate the idea in-form through a particular sculptural technique, which is the key to understanding my work: Starting from the mold, a fabric, a second skin, from which an unlikely shape comes to life. Within it, the foam, a closed-cell resin that expands to make up the limits of a hand-sewn fabric . The most complicated thing? Check the material as it makes its way, because it moves unexpectedly and completely unlikely.
The simplest thing? Organize the pieces and assemble them, following the intrinsic value or content of the generating form.
Starting from the meaning and then translating it into material language is not my prerogative. I do not want to support the mainstream conception that violates both the personal "physical" need for expression and the very nature of the work. What fascinates me, instead, is the idea, the intuition and the path to get to the form, which is generated following an opposite path: starting from the material to arrive at the idea, because the matter is accessible and does not need allusive justifications, but "only" of a correct manipulation that makes it more or less resistant to the eye and therefore as convincing as life itself. Detecting the work process as an essential element to interact with the work may seem an operation that expires in the simplistic mechanics in which the gesture guides the thought. In reality, this operation prevents the image, created and in-formed, from flattening out on the distinction between matter and form. My goal is to emphasize the decomposition of this dichotomy, so as to make it indecipherable, inadmissible, impenetrable.
My works are born from the combination on form + material and vary according to the expansion quotient of the expanded polyurethane. A proportion that emphasizes how the chemical variation of the material used directly affects the form and indirectly in the concept.
