My work feeds on transformation
I don’t care about the media I use:
I rather care about their embodying a request.
I care about my work to be open and generative.
I take care of the process and don’t force events, I go with them.
This way, my works are born in my arms and the arms of people close to me
LOVE / UNIVERSAL / PAIN IN THE ARSE (Sorry Wislawa) is an endlessly repeatable work.
Realized thanks to a timbre, the text is the result of the translation in 104 languages by Google Translate of the poem “Love at first sight” by Wislawa Szymborsa, Nobel Prize in Literature in 1996 .
The lines of the poem are grafts of multiple languages.
Sharing fragmented meanings allows to create new ones.
Continue reading “AMORE / ROTTURA DI PALLE/ UNIVERSALE (Sorry Wislawa)”
Bacteria, among the first life forms appeared long ago on our planet, are the installation’s core elements.
The graphic scheme of the installation takes origin from the Central Line London tube map.
While in London, during London Summer Intensive residency by Camden Arts Centre and Slade School of Arts I took the Central Line and at each subway stop I opened a different sterilized Petri dish putting in contact the culture medium and the air (where bacteria are usually found.
The “captured” bacteria are growing and will reproduce until they become visible to our eye assuming the shape of a “coloured mould”.
The shape and the colours of the dots appearing every day on the Petri dishes will be changing continuously in unpredictable ways depending on the kind of bacteria.
Time, measured as we move through the different underground stops, and at the same time, beaten by the continuous transformations happening inside the Petri dishes, is reasserting its peculiar role and the circular space where bacteria’s life unfolds is strictly related to the space of the city.
Continue reading “CENTRAL LINE, 2018”
THE WALL OF DELICACY condensates the experience, sometimes tough, of the encounter with a different culture, of a meeting with other human beings.
This work was born looking at the constructive methods of houses made with oyster shells of some villages in the province of Fujian, CHINA, where I lived last winter.
THE WALL OF DELICACY generates an hard wave and a rhythmic movement, and at the same time gives an unusual vision of the oyster shell itself: putting them one on top of the other we can look at their profiles.
The pinkish broken glass on top of the wall underlines fragility and delicacy, as in a flower.
Continue reading “THE WALL OF DELICACY (ode to China), 2018”
The wire of a light blue cotton candy goes everywhere, pushed by the wind generated by a fan.
The machine is automated. The system provides for a temporal control that operates the machine at random intervals and allows the production of cotton candy.
The surprise effect is guarantee, the smell is scrumptious, the result is chaotic.
A lighted sign of the reverse sentence “I Love you”, is continuously resonating with the soft moving of the wire of the cotton candy.
Continue reading “POLLINATION (I love you), 2018”
medium format photo films, chewing gums, 3D printed plastic/ 40x220x40 cm
Continue reading “COLUMN (history of a chewed sky), 2018”
This couple of giant black silk made inflatables are an hybrid mix of Chinese stone lions, the guardians of the temple.Fragile, battered, their silk dress does not cover them perfectly.
The position of their mouth, open and closed, is linked to a variety of meanings throughout Asia: in China, the temple’s guardians are a female and a male, in Japan the open and closed mouth of “Komainu” refers to life and death, exhale and inhale.
In any case, they always represent a couple of opposite.
Continue reading “OPEN MOUTH/ CLOSED MOUTH (made in CHINA), 2017”