I understand jewellery as a free artistic expression.

Beyond their decorative impact, my jewellery is designed to provoke a POWERFUL RESPONSE, both sensorially and conceptually. its power lies in the fact that it is designed to exalt the wearer, transcending the everyday.

Jewellery as a SCULPTURAL CONSTRUCTION that intervenes in the body.

With jewellery, the BODY IS NOT SIMPLY DECORATED. THE BODY BECOMES PART OF AN AESTHETIC TRANSFORMATION.

The body as an exhibition space, the body as a mediator of communication, the body as the central axis on which the jewellery is placed.

The limits of wearability codified by the traditional view of ornamentation are overcome.

In direct physical contact with the person, by subverting the rule of play....,it is the object that becomes the subject.

an art jewel is an ornament that combines the creative universe of its creator and the personality, the style, of its wearer.

A piece of jewellery is an adornment that combines the creative universe of its creator—their personal interpretation, experimentation with forms, materials and techniques—and the personality and style of its wearer.

An APPROPRIATION takes place. The wearer of the jewellery adds SOMETHING to the creation that was not there before. There is an ADDITION.

And a CONSTANT AND LIVELY EVOLUTION takes place because every artistic creation emits a radiation that falls on its audience, who make it their own. It is in this radiation, reverberation, resonance that the mystery of art lies.

ICONOGRAPHY.

I call my jewellery pieces SCULTURE INDOSSABILI /WEARABLE SCULPTURES.

Each piece poses a spatial problem that I try to solve.

These pieces are the result of a reflection on SPACE and VOID.

I explore VOID by creating volumes and shaping space.

In the relationship between the solid mass of the monolith and the space it points to, a HOLE is carved: VOID.

The VOID strips matter bare, pierces it, so that it is the air that embraces it.

The VOID is part of the object, it is a focal point for the observer and it makes understand where the piece is heading. It is a space of potentiality.

An aesthetic that celebrates VOID and SPACE, silence, asymmetry and simplicity without artifice. 

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 MINIMALISM with texture.

" Susan Sontag's in "The Aesthetics of Silence": "... any silence found its identity in a space of time perforated by sound."

MINIMAL MATERIALITY.

I WORK BY SUBTRACTION.

I work on my ability to remove matter, to restrict formal limits - without altering expressiveness.

I explore the extreme concentration of the formal and the expressive.

To obtain, SYNTHESIS IN FORM, CONDENSATION OF EXPRESSION and CONCISENESS OF STYLE.

The sobriety and rawness that underlies the essence of my pieces, however, can be masked by another undoubtedly strident and boisterous feature, DISONANCE.

DISONANCE is the inherent tension, a clash- in those contexts that are supposed to be harmonious.

There is nothing serious or elitist in the ESSENTIALITY of my forms. They are elegant without being pretentious.

Nor is there anything austere or humble in the MINIMALISM of my pieces. On the contrary, I believe that it reveals a PROVOCATIONAL and LUDIC value.

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FORMALISM.

THE FORMS ARE ORGANICS, ABSTRACTS, ARCHAIC.

Attentive to detail, I work humbly valuing each form.

I seek the exaltation of beauty by creating emotional and dramatic effects.

The jewellery pieces show a formal composition of infinite possibilities.

Offer as many faces as glances. Each piece reveals INNUMERABLE PERSPECTIVES.

The combination of multiple, changing points of view is fluidly integrated into the composition of each piece of jewellery, giving it RHYTHM AND BALANCE.

In the balance between SIMPLICITY AND COMPLEXITY, the pieces do not get boring, there are always new forms to discover: the beauty is enriched, and their aesthetic value grows over the years.

Jewellery that induce a slow, reflective, solitary gaze.