“I have always used metal, because I am dedicated to the discovery and recovery of pre-existing materials, you come across everything, through recycling. Years ago I had recovered old nets from fishermen; as a material, they were years in which I saw the analogy with internet communications, which in this era has begun to be in common use by almost the entire population. First, I used to compose the cores of the forms, on which I then created the paper works, then I started to let them breathe, emptying them of matter. I used old fishing nets and woven iron wire to create bodies, then moved on to metal meshes that permeate, capturing the apparent boundary/surface of the objects. In the thought of beginning a work from empty space and nothingness, I start from a point, looking for the origin of creation, thus, I look at the assonance between the small works constructed by a child, apparently poor, who has nothing in his hands, but has a state of consciousness that resonates with the grace of Nature; whereas western society in consumerism makes our children pile up all kinds of things and are disconnected from joy. Children are the only beings in the world for whom imagination is authentic. Grace then in our society is born in the transformation of sharing if the adult gives consideration to the object, the child in the making always allows love to come to his aid. Because of my passion for photography and the age we live in that is now obsessed with images, I considered a material that makes it very difficult to capture the focus of forms, so that the viewer is forced to see the work only from life.  Hence the use of wire netting, because, nets help me transform and give a form also a psychic body that responds by playing with light, both in building itself and in reflecting the light from which it creates the shadow. Between the shadow and the moving object one can perceive apparent hologrammatic images, in which to continue the search…”