Reducing and taking away – and at the same time collecting and accumulating: these two
approaches are for me complementary sides of the creative process.
The fragment, the incompleteness of things fascinate me. Not as lack or loss, but rather for the
possibility that they represent. The incomplete object allows for concentration on negative space
and so gaps are emphasized. The missing part can only be suggested: it might be an object's trace,
or the effect of a force, which is no longer present – but nevertheless still tangible.
I'm also fascinated by anatomic sight: the possibility of seeing through things. There is an internal
architecture within things that I try to understand.
Again hollow spaces and gaps constitute the matter.
I'm interested in the space between. Also in the dynamic between opposing ideas: fixation and
transformation, fragility and durability, fullness and emptiness, accumulation and reduction, order
and disorder. My work moves between these poles.
It may seem paradoxical to define the ceramic works as something that remains unfinished,
considering that the firing process effectively marks the point of end of the production. And yet, in
the case of this last series of works, I tend to consider the firing of a piece not so much like a
conclusion, but rather like a transformation of it, a way to undo something that I have built, a
change of the rigid order of the structures.
The heat causes the material to become soft and malleable, and what is deformed through heat then
crystallises during the cooling process. The movement of the piece is in fact interrupted. I don´t
consider the sculptures unfinished in themselves, I rather see incompleteness in the suspended
moment in which they find themselves. It is therefore a feeling of incompleteness.
I am fascinated by this movement of the material in the kiln, and by its subsequent crystallisation. It
is something swinging between immobility and transformation, between softness and rigidity.
I provoke the deformation of the structures: by building unstable forms, omitting bounds within a
structure, or firing pieces on an inclined surface. I experiment different shapes, always taking into
consideration what I think that might happen in the kiln. I play with probability and never fully
know what is going to come out of it.
It is a feeling that swings between chance and control, the will to hold something and letting it go. It
is also a practice that constantly challenges expectation: nothing fully comes out as expected. And
this is precisely what fascinates me.
During the process of working, we always produce remainders. A lot of theme simply become
waste, while others will get a sense only later, perhaps after years.
I have collected and kept objects over time without knowing why, but simply by following an
impulsive fascination. And yet over time a peculiar connection slowly showed up between these
objects, a certain intimacy, even among things that were distant from each other, distant in time and
I find this intimacy, the way these objects are recalling or completing each others, something
valuable and important. But at times it is important for me to make order as well, to throw away
what was piled up in the course of time.
Sometimes it is precisely this gesture of taking away and reducing, that becomes the essential one.