Die Wunderkammæer Melodies, 2011
Sound installation @ Giorni Felici Casa Testori — Milano
270 x 270 x 250 cm.
With this new chapter, I wanted to create a room that contains and tells the wonder and amazement I feel when listening to the hidden sounds within my work. Every action, every creative process, generates a sound — an unconscious rhythm that influences and inspires my thinking. All these sounds are the direct translation of the force applied to the material. In my mind, these sounds form an endless series of melodies that I’ve long tried to record and document, almost obsessively. Because to truly understand the relationship between a sculptor and their material, it is essential to listen to their soundtrack.
Same Matter, Different Look, 2010
250 x 250 x 240 cm.
Installation view @ Environment Furniture New York
Some fir trees. Then a floor during Design Week in Milan. Then a box used to ship my works from Italy to New York. Later, a house filled with memories of a journey. After that, another shipping crate. And finally, once again, a floor in a gallery for a closing exhibition. This project reflects on the concept of inhabitable and transportable cells — a sort of mobile artist’s residence where works are both conceived and displayed. All the materials used for the installation were originally found in the Environments Furniture space during Milan Design Week in April 2010. I constructed a crate by assembling the wooden floorboards, reinforcing them with beams that would later serve as structural support for the installation itself. The installation's journey reflects the long and challenging process of artistic pilgrimage. Once in New York, the crate was transformed into both a living and working space. Several new works were created inside it, using locally sourced materials — such as military tent fabric, a material that the company uses for padding and coverings in its structures. At the heart of this project is the idea of giving new life to every material made available to the artist — reshaping meaning through reuse, memory, and transformation.
Meine w.k., 2009
Larch wood, iron sheet and mixed props
280 X 280 x 280 cm.
This installation re-creates my own personal Wonderland room — a container that safely holds the essence of all my work: amazement.
Each phase of my process leaves behind an enormous amount of discarded material — the byproduct of various steps that lead to the quintessence of the work itself.
I struggle to let go of these remnants, because to me, they hold as much value and meaning as the final piece.
What others might see as rubbish becomes an obsession for me. In fact, it forms the foundation of my research — it is the work’s very meaning.
To experiment and surprise myself is a need; to express thought through the work, a necessity.
I wanted to create a place that gives value to what apparently has none — inspired by the concept of the Wunderkammer: a kind of backstage-sanctuary where nothing is random, nor simply part of the set.
Each object evokes a part of my research: the experiments, the tools, the reactions, the unintended effects, the failed pieces, the smells, the physical pain, the hopes, superstitions, and ambitions.
It is a document — a memory — of everything that will never be known about my work.
Cage #1, Time, 2008
10 x 2 x 1 m.
It is a work about the perception of time.
9 metronomes, a metaphor for nine phases of life, inside an iron cage, because time is an inescapable condemnation from which no individual can escape.
Each metronome is set to an increasingly faster tempo: in fact, as science has shown, as a person ages, they perceive the passage of time as increasingly fast.
Note: I presented this work on two occasions. To my great surprise, I documented how children, particularly struck by the installation — both for its size and for its sound — would stop in front of the first metronome, the one set to the slowest rhythm, the one that represented the earliest phases of life.
The fact that it attracted their attention more than the faster ones further supports the concept behind the work itself.