How do you describe your own art practice?
In a way, mine is a residual practice, achieved by reflecting in art the world’s shapes. I would like my practice to be like a tool that insinuates, that stratifies complex and imaginative interpretations of the surrounding.
Which question or theme is central in your work?
The globalised human condition and the end of work, the body as a tool and the arbitrary use and abuse of landscape, private resistance and the intelligence of plants: these are the themes I have worked on in the past few years and intend to continue exploring in the future.
What was your first experience with art?
A close relative of mine would draw on a diary, which Italian companies often give as a New Year gift, a large bird on which a smaller one would rest, and then in turn a smaller one and then a smaller one again, like a standing tower of birds.
What is your greatest source of inspiration?
At present, I am attracted to the ‘pfandsammler’, can and bottle collectors in Berlin; they have generated a space for action, including economic action, from the recycling tax applied to beverages.
What do you need in order to create your work?
Contexts in which to act, people with whom to dialogue and form alliances, good readings, collective complicity.
What work or artist has most recently surprised you?
Reading Wood by Uriel Urlow and Fantakleid of Gabriele Stötzer.
