Sepia Officinalis
ceramic coated 24X20X22 cm
2009
Morule
patinated plaster, wood 40X46X10,5 cm
2009
Concrezioni I
bronze, marble 25X26X12 cm
2009
Antozooi
marble 48X45X4 cm
2011
Levità
wax 24X16X23 cm
2012
Theridion Ovatum II
bronze, copper 100X50X12 cm
bronze, copper 100X50X12 cm
2012
Esplosione II
Duration: 01:39 //Materials: Crete, firecrackers // Year: 2015 //
Duration: 01:39 //Materials: Crete, firecrackers // Year: 2015 //
Link: https://www.youtube.com/watch?v=E1u6LtovJKk&feature=youtu.be
Project "Explosions"
The material undergoes a forced and intrusive change. The editing process works on several levels, perceptual and objective. The very nature of the object is revolutionized. The change attuatasi object is not only a physical change but also becomes an intrinsic change because, even knowing that it is always the same object, the observer will not see it for what it was before, but will see a totally different object. Moreover, the act of the same change being sudden and violent can lead to a different kind of feeling and eventually reaction in every viewer.
In the video you can also see the problems that occurred during construction. The choice to leave them visible is given looking documentary of the entire project. Any shooting set is different. Since this is shot outdoors every time it is completely different from the previous time to the independent factors job design. In this case the wind, as you can see has created some delays because of the difficulty to turn the firecrackers and the moist clay was partly damaged firecrackers, causing some remain unexploded.
Project "Explosions"
The material undergoes a forced and intrusive change. The editing process works on several levels, perceptual and objective. The very nature of the object is revolutionized. The change attuatasi object is not only a physical change but also becomes an intrinsic change because, even knowing that it is always the same object, the observer will not see it for what it was before, but will see a totally different object. Moreover, the act of the same change being sudden and violent can lead to a different kind of feeling and eventually reaction in every viewer.
In the video you can also see the problems that occurred during construction. The choice to leave them visible is given looking documentary of the entire project. Any shooting set is different. Since this is shot outdoors every time it is completely different from the previous time to the independent factors job design. In this case the wind, as you can see has created some delays because of the difficulty to turn the firecrackers and the moist clay was partly damaged firecrackers, causing some remain unexploded.
Porzione di spazio n°2
Wood, glue, nylon thread,90X80X50 cm
2015
Porzione di Spazio IV
wood, screws 90X90X70 cm
2016
ANYONE CAN HAVE A HEART, ANYONE CAN HAVE A BRAIN
PRINTED CARDBOARD 12,5X7,5X4,5 cm
2017
GEOGRAFIA UMANA
mixed media - map, acetate, screens, permanent markers
100X70 cm (complete work with captions)
Florence, Italy, 2019
CITTÀ
pronuncia:/ʧitˈta/
sostantivo femminile
1. Grande centro abitato, spesso contrapposto a campagna, contado
2. La popolazione, l’insieme degli abitanti di una città
CASA
pronuncia:/’kasa/ /’kaza/
sostantivo femminile
1. Costruzione adibita specialmente ad abitazione, suddivisa in stanze o in appartamenti ed eventualmente in piani
2. /per estensione/ comunità di persone che convivono in uno stesso ambiente, membri di una comunità definiti per i loro reciproci rapporti
ABITARE
pronuncia:/abi’tare/
verbo intransitivo
1. Vivere in un luogo, risiedere
We cannot offer what does not belong to us. We cannot defend what does not belong to us.
This work does not represent a city, but my life within it for the past 7 years.
In recent years I have gone through some of the phases that make up the path of appropriation: first wandering, foreign and foreign, then sedentary, citizen and protagonist.
The map represents the way in which my life has gradually expanded in the urban space. The way in which borders and paths have changed and widened and, together with these, the fabric of human relationships.
The perception of the city is the sum of the public and recognized vision of Florence with all the fragmented private visions in which feelings, bonds, gestures and memories are mixed.
The action of walking, of walking through space becomes experience, a story of the territory crossed.
By making this transformation I was able to create a two-dimensional graphic representation of my relationship with Florence.
Legend
The colors represent different types of paths.
The BLUE are the paths taken in my working life;
GREEN are the paths made for material needs;
the RED are the paths concerning my private life and my relational exchanges.
Near the lines drawn there are numbers that represent the points that for me have a value within the city.
Other colors represent the boundaries of the areas I have crossed and their expansion over the years.
PINK represents my boundaries from 2013 to 2014;
LIGHT GRAY represents the expansion of my borders from 2015 to 2017;
the DARK GRAY represents the expansion of my borders from
2018 to 2019.
HAND LUGGAGE
Brass, sand, plastic
300 X 15 X 8 cm
Florence, Italy, 2019
Hbiba Ciao (*)
«Tomorrow when you'll wake up you won't find me
oh darling goodbye, bye bye bye
Turn on the TV, maybe you'll see me
hopping on Italian ground».
[…]
«Be it that we see that paradise with our eyes
oh darling goodbye, bye bye bye
be it that we drown and die without a grave
my soul will come back to you swimming».
To limit the freedom of movement of human beings is one of the greatest current social injustices.
In the world, every two seconds a person is forced to leave her or his own house due to conflict or persecution.
After the shipwreck of Lampedusa on October 3rd, 2013, in which 368 migrants died, there have been increased efforts to identify the bodies of people who lost their lives while crossing the Mediterranean.
Coroners, anthropologists and CSI-units have started classifying objects, personal belongings, documents found among the corpses of the migrants.
Today these objects tell stories that their owners cannot tell anymore.
The long and difficult process that leads to the identification of a body is crucial to allow families to cope with their loss, in order to give back dignity to those human beings who are at risk of becoming figures in the statistics of our public debates.
Among the objects that are often found on the corpses – usually in a pocket, in a backpack or even sown into their clothes – there are small plastic bags containing sand or soil from their home-country.
Because in the very moment when you leave your country, your home, your beloved ones, hoping for a better future, without knowing if and when you'll be back, the act of carrying with you a few grams of soil is a powerful gesture that connects you with your memories and your roots.
Over the past five years it is estimated that at least 15.000 people have died on the route that leads from North Africa to Italy.
THE ARTWORK
Every plastic-bag is accompanied by the gelocation-coordinates of the area where the soil was retrieved. All plastic bags look the same, the coordinates are numbers and letters.
This extreme uniformity aims at stressing that there is no difference between one place and the other, between one human being and another in the very moment in which people migrate and leave their place of origin. Without knowing whether they'll ever come back.
THE COORDINATES
1. 21 ° 27'04.9''N 22 ° 38'03.6''E - Desert of southern Libya
2. 18 ° 22'24.1 "N 68 ° 50'34.6" W - Baia Hibe, Dominican Republic
3. 35 ° 33'10.0''N 1 ° 11'47.6''W - Plage de Sbeaat, Algeria
4. 40 ° 53'11.2''S 173 ° 02'49.5''E - Tonga Bay Beach, New Zealand
5. 39 ° 49'56.0''N 9 ° 40'53.2''E - Barì Beach, Bari Sardo, Sardinia, Italy
6. 36 ° 13'43.7''N N ° 26'57.0''E - Kaputas Pamphilia, Turkey
7. 33 ° 26'13.9''N 8 ° 54'48.9''E - Sahara sand, Zaafrene, Tunisia
8. 53 ° 26'23.0''N 10 ° 04'17.2''W - Mannin Bay, Connemara, Ireland
9. 35 ° 13'55.0''N 23 ° 40'42.5''E - Pahia Ammos, Paleohora, Crete, Greece
10. 44 ° 17'40.3''N 9 ° 22'12.6''E - Cavi Beach, Cavi di Lavagna, Liguria, Italy
11. 43 ° 46'37.8 "N 11 ° 13'41.1" E - Riva dell'Arno, Florence, Italy
12. 14 ° 02'17.0''N 16 ° 43'32.6''W - Mboss, Senegal
13. 16 ° 02'33.4''N 108 ° 15'07.5''E - Danang Beach, Northern Vietnam
14. 42 ° 57'40.5''N 9 ° 27'06.8''E - Macinaggio beach, Corsica
15. 20 ° 05'01.7 "N 57 ° 49'31.4" E - Governorate of al-Wusta, Oman
16. 20 ° 54'51.2''N 27 ° 37'28.6''E - Nubian Desert, Wadi Halfa, Sudan
17. 52 ° 35'54.1''N 13 ° 13'27.9''E - Baumberge, Heiligensee, Berlin, Germany
18. 26 ° 33'28.4''N 70 ° 44'00.3''E - Thar Desert, Janra, Rajasthan, India
19. 51 ° 16'34.2''N 3 ° 01'28.9''E - De Haan, Belgium
20. 31 ° 04'39.5''N 3 ° 59'12.4''W - Dunes of Merzouga, Erfud, Morocco
21. 35 ° 30'47.2 "N 12 ° 33'27.1" E - Spiaggia dei Conigli, Lampedusa, Italy
(*) “Hbiba Ciao” was written in 2011 by the Tunisian artist Bendir Man on the melody of “Bella Ciao”
