1. Material Choices
What do materials like clay, recycled paper, reclaimed fabrics, and wax mean to you, and how do they shape your work?
I use materials such as clay, recycled paper, reclaimed fabrics, and wax because they hold a memory, a lived experience that layers with my gesture. Clay evokes origins, the possibility of molding and transformation; paper and fabrics bear traces of other stories, other hands; restoration wax carries with it a history of decoration and artifice. For me, materials are extensions of a thought that connects intimacy and collectivity.
2. Reimagining Armors and Shields
How do you reimagine armors and shields, and what do they represent for you today?
I reimagine armors and shields as symbols that, in the past, were instruments of war and defense, but that today become metaphors for vulnerability and the renegotiation of protection in everyday life. I’m not interested in showing their military strength, but rather their intimate, personal, and fragile side: what we defend, what we protect ourselves from, and what identities we construct through these gestures. These objects become surfaces that reflect both power and fragility.
3. The Exhibition Not From This Place
How did you conceive and develop the project Not From This Place at Nashira Gallery, which explored themes of identity and belonging?
For Not From This Place, I focused on the idea of uprootedness and belonging, creating works that emerge from exploring feelings of estrangement, as well as from the search for common roots. I developed the project by intertwining materials and forms that suggest bodies or hybrid armors, almost as if coming from elsewhere. The exhibition at Nashira Gallery offered an opportunity to open a dialogue about feeling both part of something and distant from it, about identity as something in motion and in continuous negotiation.
4. Between Naples and London
How has your creative process evolved in your studio in Naples compared London?
In Naples, my creative process is fueled by a spontaneous, almost chaotic energy that drives me to experiment with whatever I find, using immediate and lived materials. London, on the other hand, offers a different, more structured environment, where the studio’s time and space allow me to develop projects with greater critical distance. This dual perspective enriches my work: grounding in materiality and openness to an international horizon.
5. New Directions
What new directions or themes are you exploring in your artistic practice?
I believe my practice is moving toward an increasingly open and multifaceted language, capable of embracing intimate gestures within a larger spatial dimension.
