I came to art only in my late 30s after a long period of studies at a PhD level and work experiences in different fieldsI have not attended any art academies or art schools, I have learned (and keep learning) everything by doing. I consider myself a “multidisciplinary artist” in the sense that I don’t have a privileged medium. In my work I start from an intuition sometimes triggered by a material or an object, something that hits my mind without any apparent reason, I transform it into an idea, I process it into a concept, then the intuition returns, a thought emerges, a shape takes form suggesting me the most effective medium. It’s a process with no fixed order, which may happen altogheter or trought phases.

So I have no preclusions of techniques or materials, nor of topics to be addressed, but I do care about death, sex, the sacred and the profane, the media environment we live in. I like to combine the archaic with secular scenarios. I think the far future ideally coincides with the far past, in a circular and immanent vision of things. I always try to generate a wow experience in myself and in the audience, and I often use a sense of irony to convey deep or complex meanings: I love to provoke a thought by a laughter. Currently, the fields of research that excite me the most, both philosophically and artistically, are AI, SETI, CRISPR and how our identities refer and module to them. We are in the midst of a giant evolutionary and anthropological leap: the augmented civilization. The future is sexy. These are indeed “interesting times”, they need to be narrated, imagined, reflected, expressed, accelerated.

I do art because it allows me to communicate in a very synthetic way what I have always addressed analytically (in my philosophical studies). It allows me to speak the language of the unconscious, pre-reflective, pre-verbal, and universal. To transfer “affects, percepts and concepts” (Deleuze) into something concrete, tangible, breathable; to create orginal blocks of space-time and communicate via allegories and metonymies, to the guts and to the head, in an infinitely free field where rigorously applying the measures, the balances, and the subtle proportions of sensibility: colours, sounds, images, volumes, figure and background, text and context.

– TF20xx