The subjects I choose are archetypes, symbolic images that resonate within each of us in a specific way.
It is important to start from what surrounds us, from what constitutes our culture, in order to internalize it, filter it, and then move beyond it.
In quotationism there is a feeling of gratitude towards what has been considered Beautiful throughout history.
In my works, however, these icons are somehow mistreated, hidden, forced, sacrificed.
This is the aspect that arises from the contemporary, from the perceptions of the present.
The symbolic act of "stealing" iconic works of the past is irreverent. It may represent the need to break free from an education, a tradition that can sometimes be restrictive, locking us into preconceptions and canons.
At the same time, it is a way to give new life, to make symbols considered untouchable and priceless closer to us, more human.

The key to understanding my latest series of works is not so much the central subject (which is reduced to an archetype), but rather its “frame”, the container.
The sculptures are enclosed and displayed in their transport containers, wooden crates or cages that are both prison and protection.
Crates, transport crates, and packaging turn the work into a commodity. Something that will be shipped, transported, sold, and perhaps resold and re-transported, etc.
Some contradictions emerge:
Is it really possible that art is also a commodity?
Isn't art art because it is free?
Is it possible that true art is born from compromises?

The primary objective, Necessity, is to achieve, as immediately as possible, the physical tangibility of the image that best corresponds to the idea. This is why I prefer earth, clay, as a starting point. From something as basic, as obvious as earth, one feels the ability to breathe life into any form. One feels like a sort of mini-demiurge.
After the modeling phase, when the idea begins to take shape, it is the sculptor's job to find the best solution, the most effective compromise between the original idea, tactile rendering, composition in the environment, and practical feasibility.
I usually rely on forming techniques to define in durable materials such as resins, concrete, bronze or ceramic.

But what's fundamental is the Gesture. First of all, for those who practice it... it's therapeutic.
In a sclerotic society like ours, where we're prone to hyperactivity in our minds and in the virtual world, we often forget to give vent to that fundamental part of ourselves, the sensory part with which we create a bond, a connection with reality—and therefore with Others.