How did you discover this craft?
It's been a real family affair: I have been going to my father's workshop since I was a child. When I was 20 years old, I had to replace him because he was in the hospital: when he came home, he was very proud of me.
When are you satisfied with yourself?
When there are works that are made by me, but in which the artist recognises himself 100 percent. It’s like a work made by four hands: the more there is a relationship between artist and printer, the more you can feel it in the final work.
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Could your craft be considered in danger?
Yes. There have been no big commissions in recent years. Unlike in the past, the public is less attentive to what matters, and low quality, low cost work is very prevalent. That’s why we should educate clients about beauty.
What is a memorable moment in your career?
All the years I have worked with my father. But if I have to pick out one particular moment, I would say it was in 2016 when I did a job for and with Dario Fo. I never thought I would make him a serigraph from one of his paintings.