Briefly describe the work you do.
I produce mainly audio installations, sound sculptures, performance and relational art. The subjects of my research are political, religious and social issues, with particular emphasis on everything that is invisible or secret.
Tell us a little about your background and how that influences you as an artist.
I come from a family of craftsmen (father luthier – mother weaver and designer), I attended the school of music at an early age (from 6y.o. to 15y.o.) then I went to the High School and its (Latin and Greek) literary suggestions, and finally followed my university studies of classical art. I believe that my past training surely had an impact on my artistic path as much as the family traditions.
The concept of the “artist studio” has a broad range of meanings, especially in contemporary practice. The idea of the artist toiling away alone in a room may not necessarily reflect what many artists do from day to day anymore. Describe your studio practice and how it differs from (or is the same as) traditional notions of “being in the studio.”
In the last years I have worked in various parts of the world, almost never in similar spaces, perhaps never even with the same equipment. I like to experience what the work space offers me, use objects and tools typical of the place, even stealing small scrap pieces from the studios of other artists. I often develop – then – projects that require contact with the local community or part of it, which brings me to go out often from the claustrophobic dimension of “me behind my work table”, developing complex relational processes.
What unique roles do you see yourself as the artist playing that you may not have envisioned yourself in when you first started making art?
Perhaps, at the beginning of all – harbingers that honestly I remember well permeated with narcissism – I had not imagined how nice would be to forget a little about yourself and you give attention to others. For simultaneous though, I did not expect that the vulnerability could achieve a strengthened of my character and my intent.
When do you find is the best time of day to make art? Do you have time set aside every day, every week or do you just work whenever you can?
It depends on the periods and projects. Sometimes, during art residence or intensive funded projects, I work from 8.00 to 18.00 and no lunch break. Much more often, in my studio in Padua, however, I work at night to process that require the use of computers, while during daytime, if necessary, to the construction of objects with noisy machinery or for anything else outside my room (research-contacts-workshps-etc).
How has your work changed in the last five years? How is it the same?
I completely abandoned ogniforma design that is not functional to mieie projects, or do not propose to the public nor intact in my projects no pattern, graphic or illustration. I try to further develop the relational approach to the creative act, seeking the cooperation of others. However, I still devote much attention to the sound of my work, like 5 years ago and even more.
Are there people such as family, friends, writers, philosophers or even pop icons that have had an impact on the work you do?
External influences that I can list are among family: my father, my mother, my aunt and my grandmother;among friends and people known to me: Nicola Genovese (artist), Seijiro Murayama (performer), Georgina Criddle (philosopher and researcher of art), Peter Vink (artist); among the celebrities of art history and contemporary art: Luigi Russolo, John Cage, Christian Marclay, Maurizio Cattelan; among writers: Italo Calvino, Arthur Danto, D. Foster Wallace, David Toop.
Currently in truth I carry out various jobs to keep my career: I often work as a graphic designer / copywriter, but if I could choose I would like to be a keeper of a lighthouse in Cornwall.
All images copyright of the artist and used with their permission.