An Introduction To My Work

All of my work is autobiographical and a chunk of my body, my flesh and my soul. That's why my art wanders between the beautiful and the grotesque. The stories I tell are mine and yet they are part of the universal historical context. For this very reason, each of my works is part of the collective memory.

I thought that it would be possible to remove my identity entirely from my artistic practice. This attempt to escape was, in fact, a cowardly attempt to push away whatever stands at the core of myself as a human being. Embracing my identity and accepting my painful biography was one of the most difficult things in my evolution as an artist (and as a human being).
Art making, at least in my case, has no romance at all: it's like taking your clothes off a burnt skin, it’s giving birth to that which hurts, without any presumption nor regret.
I had a very difficult childhood and adolescence. Undoubtedly, that shaped my personality, actions and, consequently, my artistic practice. Indeed, this is not apart from my life. We are ONE. And, the more I accepted my haunting childhood fears, the rawer and complex my art became. The conception of my studio as a work of art in itself, is the direct result of this process. Everything is connected, all elements communicate with each other, from the scribbled floor (a talking map), to the pieces that hang from the ceiling like forgotten bodies. Between the light and the dark it is possible to distinguish the rooms of all my heteronyms (multiple invented personalities) that have they own practice in my work. Writing, drawing, photography, painting, installation, video and performance have a shared life within the studio and in my artworks. It is quite complex and hard to see it in few images, because all media are mixed and each one tell one history.... my history... your history... our history. Last year I started creating films inside my dollhouse (using cinema techniques) where each heteronym can come to life and one can see the complete process of each work. If a heteronym is sketching the piece of art, the other writes, the other paints, the other photographs the whole process, the other sculptes ... or creates a prosthesis ... and so on. In the application dossier I attach photographs of this performance inside the dollhouse.
Each of my pieces of art is like thoughts. I think about the world, art, religion, women, politics and god (or gods). I think about love, fear and death. I think about light and shadow as if they were figures that complete each work.
Nothing is left to chance ...

I get my inspiration not only from life, but also from literature, philosophy, history and cinema.

The photos bellow are from my studio