Nel 1986 con la presentazione su RAI UNO  presenta alla mostra del cinema di fantascienza e del fantastico di Roma l’opera del primo “Ologramma gigante” alto 2 mt. In fibra di carbonio trasparente con impressi 2 personaggi che rappresentano il passato e il futuro visibili con illuminazione  laser e lo slogan “ Vivo il presente con la memoria del passato e nostalgia di futuro”.Quet’opera altamente tecnologica fatta nel pieno della sua carriera di designer segnerà l’inizio di un progetto di vita per una attività artistica.
Nel 1989  le riviste di Vogue e Donna presentano il suo bustier scultura in lame di legno di noce.
Nella prima metà degli anni ’90 decide di dedicarsi definitivamente all’arte  figurativa  della scultura e in seguito alla pittura e altre tecniche.
Autodidatta ed essendo per lui fondamentale la “ricerca”, inizierà un percorso dove il passato e il futuro saranno due termini costanti di collegamento nel contesto spazio-tempo rappresentandoli con materiali in contrasto tra loro  come l’alluminio con il legno di noce o il bronzo alluminio e vetro soffiato: il futuro ha un cuore antico.
Dal 1995 iniziano le esposizioni in gallerie e musei nel mondo, il riconoscimento di premi in manifestazioni d’arte oltre alla realizzazione di opere pubbliche.
Nel 2000 presenta in contemporanea al Grand Opera Delaware Art Museum Usa e al Museo Forte Spagnolo dell’Aquila l’opera “Natura morta metropolitana”, opera simbolo per l’artista dove esprime tutta la tensione mondiale e la fragilità ideologica e sociale del nostro tempo  con la realizzazione della mela in vetro soffiato inglobata sopra le torri incluse nella natura morta . La sintesi di una metropoli morta nell’anima, in cui l’individuo è sempre meno all’altezza dello sviluppo lussureggiante di una cultura fondata sull’oggetto.
Nel 2000 presenta anche “Fuga dal futuro”, scultura in noce e alluminio e una didascalia recita:”egli fugge verso il passato per cercare i valori perduti dove ancorarsi/ritrovarsi…”
Nel 2000 completa il progetto “Città degli Artisti” con l’obiettivo fondamentale e propedeutico di diffondere arte e cultura, attraverso mezzi multimediali coinvolgendo ogni fascia d’età con metodi disimpegnati e divertenti (reality),curiosi e non noiosi, talvolta subliminali, distribuendo conoscenza,sensibilizzando anche i più distratti e refrattari.
Nel 2002 realizza la serie “Senza materia – dinamica del pensiero” e “Proiezione del tempo” svuotando la materia  mantenendo la struttura periferica  esaltando quindi il pensiero e lo spirito, l’idea consapevole che la massa in assenza di ciò è parassitaria.
Nel 2003 attraverso la pittura del mono e bicolore con i musici e i frammenti  ideografici su mestica con preparazione  antica approda all’uso della plastica liquida con le “Guaine molli” dove soggetti in rilievo ma gommosi e trasfigurati come in un sudario vengono immortalati in una tela in tutta la sua forma  in un momento della loro esistenza per poi perdere il loro fine esistenziale. Le “Mele e pere cadute”, “Il mio sax baritono” “La vespa di Riccardo”; “Il trombone di Renzo”, “Il piano di Giorgio” sono opere al confine tra pittura e scultura nelle quali l’artista concede che il fruitore possa effettuare una pressione con un dito sull’opera, modificandola momentaneamente per comprenderne il vuoto sottostante  e per poi permettere alla stessa di ritornare al suo stato originale proprio perché realizzata con la plastica liquida.
Nel 2003  alla galleria “Officina d’arte Verona” nell’esposizione  “Maestri della pittura e della scultura veneta” espone  come unico artista scultore vivente.
Nel 2004 una banca veneta colleziona 12 suoi dipinti e 7 sculture.
Nel 2004 presenta al convegno della fiera cavalli di Verona la tematica “Il cavallo nell’arte”.
Nel 2006 un gruppo di suoi collezionisti fanno nascere una associazione al fine di divulgare la sua filosofia e il suo gesto artistico con la  costante ricerca  che lo contraddistingue e che gli consente un’evoluzione proiettata attraverso l’”iconologia del vissuto”.
Opera costantemente nel settore del design immobiliare e   con la sua “Functional art” disegna opere per arredamento rigorosamente funzionali.

He was born on November 5th 1949 in Vicenza.
When he was seven, he entered Don Orione’s “San Domenico” boarding school, where he attended musical classes for  clarinet and saxophone, as well as other basic classes.
In 1964, coming from a modest family, his brother (with great sacrifice) gave him a saxophone as a present, and this allowed him to go on with his musical studies. Thanks to this instrument, he also gave private musical lessons, in order to earn a little more money. Later, he started a musical “business” with two well-known musical Italian groups of the 60’s and 70’s, the “Notturni” and the “Delfini”.
In 1975, he founded the “Casa Veneta”, a leather outfit manufacturing company which became a leader in the sector in a few years. He also created important innovations, as the “titan” (a type of very light leather, realized with the layer underneath the leather), and the first waterproof  treatment, which was a big success for the company for many years and was also employed by other societies.
In 1980, he gave up his company, even though he continued to be its unique designer for nine years, until the death of the owner and dear friend, Attilio Andretta. In 1980-1981 he attended the “Libera Università Europea” in Macerata, where he graduated in cinema and TV production and in photography. For over 20 years (since 1972) spent in Europe, India, Japan and USA, he worked as a designer for important Italian and international industrial groups; the “Hilton” the “Fila Sport”, the “Lafont” and many others, just to give you some examples. In all these companies, he contributed to bring technical as well as stylistic innovations.
In 1981 he published for twelve months on Gap Italy his “Federico Ferrante’s notebook”*.
In 1984 he proposed and designed the micro-processor for sport and fashion design sectors.
In 1986 with the presentation of RAI UNO, he proposed a two-meter high hologram at the science-fiction and fantastic exhibition in Rome for the first time in the world. It was made of transparent carbon fibre, and it had the image of two people impressed, who represented the past and the future. Also, it was visible thanks to laser lighting, and it held the slogan “I live the present with the memory of the past, and the nostalgia for the future”. This highly technological work, realized at the height of his designer career, will set the start for a new life project, for a new artistic expression based upon the memory of what has been, because without it we couldn’t really be what we are and we could not consciously imagine ourselves in the future. Briefly: the future had an ancient heart.
In 1990 he presented the walnut “sculpture bustier” in the fashion design “Donna” and “Vogue” magazines, and later on he started to be interested in the artistic expression in parallel with that of designer.
In 1990 he presented an exhibition of original photographs about Italian explorers of ‘800 and ‘900 inside his media space in Milan. In the middle ‘90s, he definitely decided to give himself to the figurative art of sculpture, and later on to painting, too.
As a self-taught artist, going deeper into the ancient classics through the meaning of symbols and thanks to his deep spirituality, he started different artistic researches (being experimentation fundamental to him). Future and past were two constant linking points in the space-and-time context, transfiguring in the plasticity of the forms the fusion among materials very different one from the other (as walnut and aluminium, or bronze-aluminium-blown glass, or stone with bronze), as one material was the lymph of the other. 
Since 1995, he started to exhibit in galleries and museums all over the world, to win awards in international art events, and at the same time he realized monuments and public works.
In 1997 he presented the “Trinità”, a work made completely of walnut, for the Missionari Saveriani Chapel in Vicenza.
In 1998 he came to know his friend and amateur Giovanni Crisci from Rome, with whom he entered the roman collecting circle.
In 2000 he presented his work “Natura morta metropolitana” at the Grand Opera Delaware Art Museum  (USA) and at the Museo Forte Spagnolo in L’Aquila (Italy) at the same time. The sculpture had a symbolic meaning for the author, as it represented all the world’s tension existing at that moment. In this work the past-walnut, the future-aluminium and the blown glass-fragility (both ideological and social) of our time were put together and incorporated in the metropolitan towers inserted inside the “natura morta”. It was the synthesis of a metropolis which was dead inside, where the individual was less and less able to manage the luxuriant development of a culture based upon the object, a kind of final result of the challenge between past and future.
In 2000 he also presented “Fuga dal futuro” (a sculpture made of walnut) at the same two museums, where a description said “he escapes the future towards the past to find the lost values where he can find himself/cling himself to…”. This work stopped a situation of escape and run … from the future, and the human figure was represented in a determined effort, and upon the walnut structure there was a aluminium fusion applied which, like the web of the “beyond”, still imprisoned the body, changed and partly changing, shown in an active moment, in a context of a journey back from the “beyond”.
In 2001-2003 he realized the “Sacra famiglia” monument.
In 2001-2003 he also realized the series “Irradiazioni staminali” and “Proiezione del tempo” where he took away part of the volume, being aware that the mass was made of thought (abstract), which needed “cultivation” and refining, because without them it would be a parasite.
Through painting, he expressed himself first in a classical phase, using ancient techniques for the preparation of priming applied upon the raw jute canvas. In his paintings, he highlighted (as in his sculptures) a deep and social inner life, as you can see in the ““Due clarinettisti in fuga dalla città”, a diptych you can compose and recompose, inverting the order of the two parts and viceversa. In this way, you can modify the volumes of the composition, where (from the exploded city) the two people are given two clarinets, which were the unique way to escape, and music was the weapon you can use to defend yourself and, if necessary, to fight. The theme of music is a constant one in this artist, as for example in the “Musici” series, where almost invisible double-bass players, pianists, trombonists and clarinet players follow one another, estranged in a representation of non-colour, in order to give place to a unique colour in the canvas, given by vibration and musical melody.
The series “Frammenti ideografici” fixed the image in the memory (an expressive research started in 1985 with the realization of a middle-age hieroglyphic panel which was then used in all the series) in order not to forget and to think about his “cultural nomadism” and to the specific culture each of us belonged to.
The fundamental turning point came in 2004 with the experimental research and with the use of liquid plastic, the “guaine liquide” with which he shaped subjects in relief, but at the same time gummy, and as in a shroud he immortalized the subject in the canvas in all its forms, in a moment of its life which would never exist again. The “Mele e pere cadute”, “Il mio sax baritono”, “Il trombone di Renzo”, “La vespa di Riccardo” are all works at the limit between sculture and painting, where the artist allowed the spectator to press a finger upon the work itself, modifying it for a short time in order to understand the emptiness beneath, and then to allow to come back to its original state, thanks to the realization with liquid plastic.
He also worked as judge in artistic competitions and participated in the Horse Fair meeting in Verona, where he presented “Il cavallo nell’arte”. 
In 2003 he exhibited  at the “Officina d’arte” gallery in Verona with the title “I linguaggi dell’arte” and “Maestri della pittura e della scultura veneta” as the only living artist of our days.
In 2004 a Venetian bank put together a collection of 12 paintings and 7 sculptures among his works.
In 2006 a collector from Vicenza, started the acquisition of an important collection of his works, in order to create an association which made his philosophy and his artistic style accessible through the constant experimentation which distinguished him. This also allowed an evolution planned through the “iconologia del vissuto”. Unfortunately, he died in December 2006, but the ssociation is constituted also in his memory by his friend Dr. Lelio Bogoni and some other members and supporters.