Pieces of metal, scraps of wood, steel marbles and splinters of peraluman, scraps found in my father's sculpture workshop, accompanied my childhood. The fascination of aggregating, as if was magic, created mouths, eyes, faces, tufts, and figures that looked at me and conversed with me.
From that unexpected juxtaposition, new features and casual expressions were revealed; this is how, through an articulation over time, the need arose to represent my way of seeing the world with different materials, also faced with irony. The goal lies in the conciseness of the final form obtained from the skillful multi-material assembly in years of that verified knowledge which alone could produce often painless censorships, but also measures and new balances, extraneous to the individual elements.
The innate strength of these thus becomes a new strength-project of homo faber. Sculpture but also painting as a denunciation, as a release from tensions, choosing and contaminating old and new symbolisms which, when questioned, can give answers to those who want to explore them, even though art.
Here sculpture as well as material painting becomes my tool to investigate the soul and my mask-heads are neither portraits nor caricatures, having deliberately excluded any link with real people; in some cases, however, the intention is to approach the world of some personalities through a meditated transference from the literary world to the pictorial one. This is how these meta-portraits can also be the result of an emotional research that starts from remote impenetrability to propose new certainties.