Where do you find inspiration?
My classical studies have always been a reservoir of themes and fascinations, especially the essence of archetypes. At the same time, I'm inspired by the fragility of leaves, petals, small living creatures and the way they move and change as time goes by.
Do you feel a contradiction in your work?
I think it’s more a union between an apparently gentle classic world and some intrusive, disconcerting elements, that is to say mutant organic shapes, mostly phytomorphic, which work as real energy transmitters. I am too polite, I feel the need to be more disturbing.
What is the role of the colour white in your work?
White is more than a colour, it’s a real obsession, deeply rooted in Capodimonte porcelains from my native city, Naples. I’ve been totally seduced by this porcelain since I was a child. At present, I’m experimenting with other colours and gold.
What is your most original feature?
Each artist’s specialty is in their hands: everyone has a unique savoir faire, any artwork is a meditation on a subject. Among other things, I’d say that how I use the subtle paper clay (clay mixed with paper fibres) to interpret fragility is very distinctive.