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My artistic research is closely linked to the view of the world as a movement permeated by the energy of human fragility. At the center of my work is the idea of “Corpus-et-Vulnus,” an existential alchemical synthesis that merges the physical and spiritual aspects of human beings.
In a visual way, I try to reveal and authenticate this union through a combination of painting-sculpture. It’s not just about the haptic volumes triggered in the device, but I have also stopped, among many other things, the nail of painting being attached to the wall of a gallery and brought the devices down to the ground.
To realize my artistic vision, I have called them “OAC Communicating Artistic Organisms”, firstly because they do not have a fixed and complete character, but are composed of ongoing processes (chemical reactions, fermentations, chromatic alterations, decay = everything is in a state of change), and secondly, with this name, I want to foster an idea of art as a process closely related to life and a nature that is entirely active and collaborative among the artists, the participants, in light of exhibition spaces, where the entire process of relationships that arises can be a value of exchangeable truth.
Expanding the terms of site-specific and site-sensitive devices, I am talking about site-coexistence, that is, the attempt to create not a confrontation but a dialogue between multiple existences; a more impactful experience, even if limited to the time and space of the performative event.
My personal artistic language has developed through experimentation and inspiration from great masters such as Kiefer, Parmiggiani, Beuys… My artistic design is strongly influenced by the tradition of informal and conceptual art, in which irreversible and continuous transformation is an integral part of the creative process.
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