T A P E S T R Y 

None of these assemblies can be considered definitively concluded: it is the methodology of the survey itself that requires it. The assembly of waste takes place not only with materials external to the works, but sometimes with the works themselves, of which the disintegration and the moment of self-destruction to give life to new forms is referable to those of the 14th century tapestries. The large dimensions, the theatricality, the decentralization, the tinsel, the decorations, the use of waste materials that imitate a non-existent luxury, are a precise reference, in addition to the cultural and traditional influences of the South, to an in-depth study on Baroque aesthetics, on the sensory deception, on induced disorientation, and on the shock factor.



El Todopoderoso, La mano di Dio, Untitled

These tapestries, in particular “El Todopoderoso”, are composed of waste and materials that my loved ones have donated and that day after day I have accumulated and manipulated in my studio.
This is an intrinsically relational work, deeply linked to the place of belonging.
The work tries to reflect with tragic irony on sacredness and superstition, on providence and acceptance of the fact, on socio-ethno-anthropological elements still rooted in a South that is not yet completely secularized.

Medusa Orientale (Istanbul’s remnants)

Medusa Orientale is the only one of the more than four tapestries of the period of life in Istanbul remained intact, together with a documentation diary that focuses on the component of randomness and self-destruction in the practice of creation itself (which is why almost all works were destroyed or reduced shreds to be used in other works); it is precisely in Istanbul that the recovery of street waste begins, in particular those of the textile laboratories in the Osmanbey area which on Thursday night filled some of the streets of the neighborhood.

Morte di Marat, Bestia d’acqua dolce, A Beethoven, Carnevale

In this series of works, coinciding with the second training period, it is possible to see the beginning of the experimentation of a contempt for the image, the centrality, the structure, these works are in fact composed of fragments of other works, often conceived with the companion of studies and friend Giuseppe Seruis: it is the beginning of the study on the Baroque, on the little body, but above all on the editing, and the delineation of the relational character of the work.

Caduta, Uroburo, La Madonna del Palazzo, Alba Nova, A Ballard

The first series of works refers to heraldry and coincides with a series of studies on the Mezzogiorno, first on the relationship between fascism and the South, (Alba Nova is a tragicomically glaring example, with its historical references to the now non-existent municipality of Albanova established at the time by Mussolini) and a real socio-psychological inquiry into Authoritarianism and conformism, which takes up the pioneering empirical work “The Authoritarian Personality” conducted by Theodor Adorno on the psychology of fascism. “A Ballard” acts as an aesthetic stimulus in the investigation, to give life to over 148 reactions of the investigators and 18 interpretations of the same work.