Manifesto

I have always been drawn to thresholds, the places where one thing fades into another: the line between who we were and who we might become, between what is familiar to us and what is already beginning to feel foreign. For me, art is a kind of time machine. Not to escape the present, but to step back and look at it more clearly, from a certain distance.

I work with human figures. Forms suspended halfway between myth and memory, between a past so distant it no longer has a name and a future that has not yet arrived. I call it the archaeology of the future: digging in search of civilisations entirely human, and yet not entirely, perhaps no longer, our own.

I love works that can be seen in different ways, that seem one thing and then perhaps another. I never want to tell you exactly what you are looking at. I prefer the work to stay open, so that everyone can enter it in their own way. For some, the surface is enough: the pure form, the simple beauty, and that is already more than enough. But if you wish, you can go deeper, layer after layer, until questions surface about time, about what it means to be human, about where we are all headed. There is no right reading and no wrong one. Every reading is true in its own way.

At the centre of everything is the image. My work lives in two dimensions and in three: photographs and bronze sculptures. But they are not different stages of one process. They are two ways of saying the same thing. A photograph fixes a figure in an exact instant, from an exact angle. A sculpture is like a photograph you can walk around, seeing it from every side.

In both cases the intention is the same. The bronzes are cast with the Fonderia Artistica Versiliese here in Pietrasanta, a foundry with more than fifty years of history behind it. I never give the works a title. A title would close the door, would put my name on stories I have only just begun to bring to light. Each piece comes with a code, a certificate, a photograph. It is enough.

When someone chooses a work and takes it home, for me they are not just buying an object. They are joining the excavation. They are bringing back to light a fragment of human time that would otherwise remain buried. Every collector who welcomes a work into their life pushes the excavation a little further.

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