My artistic work comes from a profound urgency: to translate into sculpture the feelings that flo through me when I sing. An introspective journey that has led me to explore the concept of the "voice" in all its many facets: what is it, where does it reside, what is it made of, does it correspond to the sound we hear or to the intention that it generates?
From my initial reflections key concepts emerged such as lightness, essentiality, immateriality vibration, fullness and emptiness, air. I began to experiment with clay and plaster in order to give shape to these ideas. However, these materials proved unsuitable to fully express the delicacy and evanescence I had in mind.
I reached a turning point when I removed the clay from a portrait sculpture. Thus revealing the core of iron and metal wire that supported its structure. In that moment, I sensed the expressive potential of this material. I began to model with it, initially for fun, creating the outline of a face. It was as if I had a pencil in my hand and as if space itself was my blank canvas, except that I was able to move across several planes and create parallel ideas.
Studying anatomy was fundamental for my artistic development as it enabled me to dissect and draw every form in order to really understand it. Preferring line to colour and to matter, I was able to identify each shape's architecture. Anatomical drawings (chiaroscuro) thus became maps of planes, points and lines that I then translated in space using wire.
I depicted bodies, objects, animals and natural elements using wire.
For me, dissecting a body (Allegories) means exploring its structure and its movements, making connections with my own body and with my emotions.
In the same way, dissecting an object (Mirabilia) isn't only about depicting its shape, but also about examining its story and emotional value. That's why I often chose objects from the past, associated with my personal experiences and that refer to a time in my private life.
Drawing and dissecting a garden or shapes from the animal kingdom (Immaginaria), on the other hand, represents a profound meditation, a way of making an imaginary world, in which I feel immersed, become real and concrete.
With wire, I don’t limit myself to depicting what I see but I seek to capture an inner feeling. It's like freezing a state of mind for a moment to dissect it, know it and understand it. Thus the wire becomes a line that I define as "voice".
Like the voice itself, it lies in that boundary between the material and the immaterial – emerging from a body to then dissolve in space, transform into air – in the same way, the line of wire depicts the structure and fullness of a shape, to then become emptiness and motion in the surrounding space.
