I have always thought that a good artist must first and foremost be a good craftsman. Only in this way can he be able to give shape to the emotions that he wants to express through his works. I studied at the Venice art institute, obtaining in this high school the diploma of applied art in sculpture in 1993.
My laboratory teacher was Giacinto Fantin who in turn was a pupil of Alberto Viani.
The task of this school was to give its students a professional training, based on the knowledge of materials, hence my passion for sculpture, but I have never preferred one material over another.
I love working with resins, plaster, wood, metal, and throughout my professional life, I have worked in the world of scenography, stone restoration and the preparation of furnishing photosets.
In recent years I have been making objects for shops and fairs, customizing each object I make according to the needs of those who commission them.
In the latter period, due to or thanks to covid-19, I started making new sculptures, asking myself what it’s meaning maybe today.
The metal rod together with the metal mesh, offers the possibility of creating very light and transparent sculptures, such as the lines and spots that make up a drawing on paper, or like the visions that can be admired in the water that reflects the architecture of the palaces of Venice.
In my works there is no sculpture made with the traditional lost wax technique, where the steps are multiple, but you resemble a work much more similar to the initial metal frame that serves to support the clay and plaster for the construction. of its models.
In the case of my sculptures, however, it all ends when the other sculptors begin. It is also for this reason that much of the work is based on the initial preparatory drawings which are used to organize all the welding and painting work in advance.
Colored paints are also very important. They must dialogue with the form of the work.
The metal mesh always poses new changes and it is very difficult to be able to communicate at a distance between the metal mesh, the colored paints and the light, the latter determining the final result. In my opinion, sculpture must be a constant challenge to test one’s skills.
Obviously it must lead to a result that pleases the final client, but above all it must satisfy those who make it.
If we are ourselves the most severe critic, the result will certainly be excellent.