I live and work in Milan, Italy.
My work is connected to the memory of the body, in which the surface becomes the place of conflict and pleasure, the filter where the marks of consequences of our relationship with the world get tangled up. The emergence of depth, coming to the surface, like an interior that is brought out and turned into a sculpture, is a conceptual exercise, but at the same time a carnal exercise.
I always saw sculpture as an extension of the senses, a form of sentimental education through which one comes to know the self and the other. For me, sculpture, is a continuous questioning of the imperfections of our existence, and of the enthusiasm produced when, from those imperfections, a new harmony is reached. The history of sculpture coincides with the history of the skin. It is a history of many paradoxes, as the skin is a system to protect our individuality and at the same time a place of exchange with others. Skin preserves our inside from external forces, yet it bears the marks of these impacts and exchanges. Sculpture, likewise, deals with the differences and exchanges between us: a constellation of habits, impulses, dispositions and behavioral traits become form. The structure of a sculpture becomes a sort of cognitive structure open to affective experience within a shared, vulnerable space.