Whereas in the case of ceramics and my works, the concept is very important, it starts from a more sophisticated intuition, because you have to know the material really well to create what you have in your head. When you sculpt with your hands to arrive at the imagined form, you have to know a basic sculpting technique. When you start from nothing, it is the material that leads the artist to idealize a concept a posteriori, instead, when designing a work, at the moment you idealize, you have to think about it, you have to understand what techniques to use and how, at that moment, the concept is conceived. 

What inspires your performances? 

My performances are constantly evolving, they start from anthropological discourse, from popular traditions, folklore, and mythology. The actions start from the concept of possession on the tree element described by Roberto Calasso in his text “La follia che viene dalle Ninfe” (The madness that comes from the nymphs). In particular, I am interested in the figure of the nymphs who hid in the trunks when they were curious about the world of men and came out of the water and used the trees as a refuge to get in touch with the human world. The first performance was at the Mona Museum in Tasmania, where I had a tree taken from the side of a river with one side charred from a fire. Like a parasite, I took possession of this dead body and used it to build a musical instrument capable of giving this tree a voice through sound. These actions are capable of bringing a body back to life through transformation. 

What are your future projects?

I am planning an exhibition in Florence this coming winter. But, above all, I want to discover and study every technique, because I think an artist must try all the instruments to have a complete vision. I would like to publish an audio archive with performance pieces and audios that I have recorded in analog during the last 10 years. I would also like to make video work, a film, or a play, maybe direct it and do the costumes and set design, so that I can go back to my origins and my studies because my family has always worked in show business and cinema, and I have been used to disguises and staging since I was a child.