What training have you followed? How did your
education influence the choice of your profession?
I am a self-taught artist. I invented my technique and my style. My professional growth is the result of an infinite series of encounters, of attending wonderful workshops with craftsmen and artists who have inspired me and have sometimes given me their tools and machines. Most of all, they have been a continuous source of inspiration.
I personally follow every aspect of the creative and productive process in my Milanese atelier, where I installed my forge and workshop in 1998.
Tell us how your works come to life. Where do you
find your inspiration?
I love metal. I love its imperfections, its scars. I love contrasts and I try to highlight them. I spend my days “abusing” these metals, but I end up touching them, caressing them.
Formally, I am inspired by the natural world, but my aesthetic research is never ending. At present I am exploring the porous surfaces of stone: at the Salone del Mobile in Milan I presented “Cremino”, a sculptured table in Persian red travertine, partially covered with liquefied brass, which required accurate formal research. The experimentation continues in “Fossile”, large decorative panels with bas-reliefs of palm leaves made with brushed liquefied brass. In this case, my aim is to transform the vegetable imprint in an immutable, fossilized decoration.
What materials and techniques do you use?
I like to explore and investigate in many directions: from iron and all its patinas, to stainless steel, bronze, brass, aluminium, to the experimental techniques of cold liquid metals. In my workshop I employ innovative procedures and techniques, mixing them with traditional methods of fusion and forging or with goldsmithing techniques.
For example, the liquefied metal technique becomes a new filter with which I can revisit and rework some of the historical pieces of my collection, like the “Cut” lighting sculptures or the “Pupil” sculptural mirror. With these techniques, I can obtain endless variations. A very important part of the process is polishing the patinas with waxes created ad hoc.
Who are your clients?
I mostly work with international clients, who seek the quality of the Italian excellence and respect the production times required for unique pieces.
Do you think that your profession could be
appealing to the younger generations?
Unfortunately, I don’t think that the younger generations are really interested in “getting their hands dirty”, although during my last exhibition in Milan I met many smart students who were interested in understanding my techniques. Their questions were really focused. It could be a positive sign!