The exhibition presents a series of works that coherently follow the artist’s research focused on the use of materials extracted from the usual contexts and projected towards their alternative, tangible, aesthetic and conceptual value.

Materials that are often subjected to interventions of aging, manipulation or stripping, as if to identify the original dramatic universality that the utilitarian purpose of the object hides, to capture in them an image suspended between memory and desire. A poetics that manifests itself in the memory of the material, starting from its own characteristics, in the result - or in the residue - of a transformation that brings to the surface the structure of the material of which the figure is only a transitory reflection, as changeable as the form.

The works on show are enriched by a reflection originating from the encounter with nature in its conjugation of creator, deterministic but casual. An intimate dialogue that seeks an effective correspondence between matter and the variable that moves the act and the becoming, suspended between will and accident.
The need to give a form to the existing stops in front of the awareness of a look that partly determines the perception of the object. However, the form is only - and only - the occurrence of matter. The image almost seems to be the waste product of a process in which the elaboration of the method follows the measure of biological and inner time.
A conviction that emerges clearly in the work Notes of Comacina, realized during the residence spent on the homonymous island of Lake Como, in which “the intent to create a “sincere”drawing/portrait of nature and the moment” forces us to renounce the “perception that influences the drawing”.

Each representation betrays, because it reveals, the distance between nature and artifice. The creative act is the principle of change as the cause of oneself. The artistic gesture lies in grasping the flow of reality and all that has passed before him as an opportunity or necessity.
The desire to move away from the image as a passive element of the process and from the authoritativeness as a compromise with the material - started to undertake its own path - returns works that seem to be moments of a cycle not concluded, but inevitable.

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