FRAMMENTI ERGODICI
Diana
Sanguine, metallic leaf and ceramic on paper
38cm x 48cm x 5cm
2019
The need to create these works arises from a desire to express the union of thought, drawing, and three-dimensional form as distinct dimensional levels within a single object that unites them.
The alternating movement between presence and absence, driven by a continuous magnetism, interacts with the interference of a ‘probability of breaking.’ This evokes a sense of anticipation and instinctive perception within a suspended moment in time.
It is a cycle of destruction and recreation between idea and form, highlighting the tension between the unbreakable and the fragile nature of matter.
Horse
Sanguine and metallic leaf on paper
71cm x 97cm x 5cm
2018/22
Alice in Wonderland, my aunt and uncle’s living room overlooking the river, sundays spent with my family outside the city, these are childhood memories in which the figure of a horse’s head silently protected me. Watching me from the top of its column, that wedding gift reappeared numerous times over the years. As I grew up, I encountered it again in high school, in the sculpture classrooms at art school, in museums, in stories and finally back in that room. In the same house by the orchard where, as a child, I lived out my imagination accompanied by the surrealism of Lewis Carroll.
Mask
Sanguine, metallic leaf and ceramic on paper
34,6cm x 47,8cm x 5cm
2024
“The sunrise shines the walls of the room with a golden light. I’m in Africa and i’m looking a compositions of different masks collected from my father. My memory start to shows me dances in the villages lived in the South Saharan experiences like the rattles on the ankles au mariage, the Giriama party on marine park, the internationals museums and the mysterious feeling perceived as a child.”
They are emotions written in pastel and are part of Frammenti Ergodici.
Mask
Sanguine, metallic leaf and ceramic on paper
34,6cm x 47,8cm x 5cm
2024
Venus and the Golden Apple
Graphite, soft pastels, metallic dust and ceramic on paper
68cm x 90cm x 3cm
2015/24
The African sky, the winds of the Indian Ocean and the red earth covered in bright green led me to myth, a time of fusion between semantics and dreams. Symbols inherited from ancient archetypes, “a search for lost time” as Levi-Strauss recalled.
Begun in the mid-2000s and resumed nine years later, Aphrodite Admiring the Golden Apple is a work that is particularly dear to me.
To the Sky
Oil and ceramic on canvas
30cm x 37cm x 5cm
2018/23
At the Archbishop’s Curia building in Piazza Fontana in Milan, Ettore and I are received by the Episcopal Vicar for Culture, Monsignor Luca Bressan. I wanted to request some coloured glass, the same kind used for stained glass windows in churches, with the aim of simulating visual effects in the filming of the commissioned interactive work. It was a special meeting, and we were very impressed by the art books and fascinating stories we saw. Unfortunately, my request was not successful, but one story in particular stuck in my mind. He told us about the marble floor of Milan Cathedral. The image of the processions that took place over time is still evident today when walking on the designs of shells and flowers. Symbols of heaven and earth, a ritual evoking the passage of souls from the celestial world to the earthly one. The memory of this story has been transformed into these two works, which, like imaginary windows, look out onto the two realities through the symbolic figures depicted in the ceramic bas-reliefs.
To the Earth
Oil and ceramic on canvas
30cm x 37cm x 5cm
2018/23
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