I have always been encouraged in my life by the priority choice of first being a free person, then an artist.
I knew that if I had been able to maintain this existential combination, mine would have been a difficult path, but also rich in meaning. On this path, in fact, I have always been considered a character of difficult definition: an experimenter free from conformism,
I have continuously assimilated experiences working simultaneously on different levels of creative research in the field not only of art but also of theater, cinema, of design, decoration… at the basis of a continuous investigation of unusual techniques and materials.
All this is fundamentally nourished by ideas, that is to say more properly of images that my mind takes on through a way of looking at things that marks a break with respect to traditional methods and experiments with new forms of expression.
This is what lies behind my thirty-year experiments on paper, plastic, metal, fabric, glass … where I start from the visible and tactile quality of reality of indifferently natural or artificial objects, up to trying to make reality become art.
Rationality has been banned, so I like to enhance everything that in the artistic work would seem casual and meaningless, but which proves capable of massaging the atrophied muscle of a society that is increasingly subject to the civilization of the image and spectacle like the present one.
A well summarized path among the pages that Gillo Dorfles dedicated to me in his latest publication “The artists I met” in the Skira paperbacks series.
The way of making art – which is imprinted on the eye, the emotion, the time and the light that passes in our society – has become essential for me to combine it over time with an active teaching of art that revolves around a reflection on eco-sustainability of our planet and the human economy that governs it.
Twenty years have passed since teaching an educational laboratory of Ecodesign and Decoration, created at the Accademia di Brera in Milan, which allows me to contribute to forming the artistic intelligence of students above all through facts, observations of an activity of experimentation capable of harboring ideas and making them speak in order to generate other ideas.
Because ultimately this is what brings out the talent and the renewal of expressive languages. The autonomy of ideas, especially paradoxical, outside the convention, which over the centuries have often invaded the collective mind of society to the point of turning them into ideology.