research philosophy
Towards the end of the millennium, the themes of well-being and the future take on ever greater importance in my vision of the world, directly influencing my way of making art as well.
At the time I still shaped different resistant materials, such as walnut or cherry wood, bronze, aluminum, stone, and blown glass, combining them with each other. Also in painting I experimented with tar and acrylics to veil the colour.
The first alarm bell rings, in anticipation of the attack on the Twin Towers, with the sculptures Metropolitan Still Life (1997-98) and Escape from the Future (2000), in which the ripple of my inner motion is already visible.
At the same time, I also began working in secret on a new artistic practice, almost an anti-sculpture in denial of all the privileges it, and life before 9/11, entailed.
In this period, the series Without matter-dynamics of thought (2002-04) and the work Projection of time (2003) show a further formal and conceptual passage, in which the void makes its appearance.
In 2003, experimentation brings technique and material exactly to the turning point I desired, passing from a hard, full and fixed sculpture to a type of plasticity at its antipodes: the soft, empty and flexible one of the Soft Bubble.
From then on, my research settled on the biographical narration, sometimes with autobiographical traits, of this era of great crises and easy illusions, gradually developing the first thematic series (Still life, Garbage with dignity, Industrial archaeology) and all the parallel and subsequent production (Music, Graffiti, Hiss of wind…).
In the wake of some works of socio-cultural criticism, in 2008 I managed to transform a delicate moment of awareness into a nucleus of striking and alarmist works, thus bringing to the fore the global urgencies, still dramatically current, of an ethical, social and environmental nature .