Spock is always underfoot.
Processes overlap, materials wander off or disappear into nirvana, nothing is clean or final until we officially declare it finished.
This environment has shaped my way of working: physical, open to all kinds of mistakes and, more importantly, determined to fix them again. During my diploma at the Accademia di Belle Arti di Carrara, I focused on plasticine modelling and negative mould techniques. In the FAC studio, all of this turned into real madness.
Plasticine taught me that material remembers everything, touch, pressure, hesitation. Every trace remains, at least until some colleague messes with it before casting and drives me completely insane. I enjoy working with plasticine, silicone moulds, plaster, resins and biological materials, constantly moving between modelling and casting, building up and reopening forms, always hoping for damn good casts without errors.
Within the FAC studio, sculpture is understood as a process, not a product. Even if I sometimes see this a little differently. Still, I am not interested in perfect objects, but in forms under pressure, instability, transformation, and traces of intervention and chance.
My works reflect this attitude:
they are records of hands, time and resistance.They remain open, unfinished, alive. For me, sculpture is never an endpoint. It is a working condition, shaped by material, place and collective practice.
This is how I move through the world.
Carrara 2025
