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From art education a personal interest was born when I became aware that the artist, through his work, communicates concepts and emotions despite being absent.

I remember one of the first classical concerts that completely upset me, I cried tears of joy and despair indecipherable at the same time. I felt relieved, and for the first time I had feelings of wanting to be able to wake up similar feelings in others. What was the aspect that has intrigued you and that made you decide to choose this as your main medium?

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I like to touch things and so I try to produce my thoughts and feelings. I am able to do this thanks to photography. I was drawn to the fact that I can summarize, testify, and at the same time I feel that I have the power to do magic. Photography frames inevitably, but this is one of its greatest limitations as well as its immense strengths. The use of pictures has changed greatly over the past decade, also in relation to its widespread diffusion: the smartphone always in hand, social networks, selfies, to show your appearance at all costs.

What do you think has changed in the enjoyment of such a presence of images in everyday life? Has this transformation altered your research? My research investigates the basic needs of man and of society.

I believe that selfies are a consequence of a need to hear the testimony of themselves, to exist and to show this existence to as many people as possible. This interests me, I am interested in what is at the origin of the social phenomenon; therefore yes. It intervenes in my research, but no more than other social phenomena.

My work is me. For a long period of time I was the protagonist.

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In front of and behind the camera. Even my parents, who themselves are part of me. Getting naked in front of the questions requires opening up to the discussion, it requires honesty and availability of wanting to seriously look and this inevitably leads to answers, often quite serious. It is getting naked in all senses.

These people are never models, but people who go with me to explore themselves. Again, in these cases there is a very strong emotional interaction. I think this is precisely the strength of my work, which is able to feel these emotions, on the contrary to only seeing them in a simple photograph. How do you serve in these works? What is the symbolic meaning that they give? Each attribute in my work has its own significance, historical or personal: the pigeon-dove is for the Holy Spirit as well as for the sacrifice, for passion and hope.

And then there are the angels. Yes, it is true, there are many birds, perhaps because I am attracted to anything that can make me forget the gravity.

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You work not only with photography but also with video, performance, I also saw sculptures and small objects. How do you choose your medium? Every time I approach new research I ask myself by which means would be suitable, which matter to experiment. Often the materials are direct symbols, like golf leaf, the ceramic epitaphs. The material reflects its general affinity and other concepts that reinforces the work. I give them a second life, placing my Polaroids on photography or existing miniatures. I like the idea of timelessness.

What do you think should be the role of art in our society? And what do you think of its uses? More and more we try to bring the work outside of museums and galleries, to give art back to live and share with everyone. Are you interested in this kind of sharing? Art must make us ask ourselves questions, make us look over the walls of our existence. I personally choose topics concerning society and its current problems. Some say that art should not educate, but I believe that today it is our duty to give meaning to thought.

There is a very intriguing work from that I would like you to describe, a site-specific in fact, born in Sorrento — Sirens — built on the narrative of the myth of the Sirens ; a very refined and suggestive piece. How did this idea arise and how did you develop it? The myth of the Sirens struck me as a metaphor for life and research on human omniscience. Sculptures in Vesuvius stone were born, baked in an degree oven several times to create white ceramic necklines.

Then these sculpture sirens were launched into the water to be shot in photography and video.