THEME INTERVENTIONS

THEMED INTERVENTIONS: even when I was a child I used to build my own toys. They were a sort of "themed" interventions, I would say. I already chose my subjects: a toy car, a cat or a sailing boat.
The important thing was that my dreams could take form and that the fantasy of the game could lead me elsewhere. But building the toy was the game itself, a bit like enjoying the journey and not just the arrival.

Even today when they give me a subject to develop it is a bit like going back to being a child, nothing has changed... only time.

GATTO
CACCIATORE
atlanti
SIOM
FerrariMarmo
50

ATLASES RESIDENCE: in the great avenue on the Turin-Rivoli road, there is this installation made up of 17 stylized Atlases. The material imposed by the designers for the complex is corten, metallic and also rusty? An open invitation! I love working metal and I love that warm and velvety finish. The work was firstly greeted by locals with skepticism, but now, after a few years, they are very attached and even jealous of it."The palace of the little men", as it is called (even if they are six meters tall), has become a point of reference... "I live there" or "see you there!", is for me a compliment and a victory!

atlanti4

Residenza degli Atlanti - Gruppo Bertone/Acqua Sant’Anna/2011
Arch. Grosso, Mantovani, Menegozzo
welded corten17 sculpture, h about max cm 600 - inch 236,22

ATLANTI1

DETAIL

DISEGNO

STUDIES

atlanti2

WORKS IN PROGRESS

atlanti3

WORKS IN PROGRESS

atlanti7

WORKS IN PROGRESS

LAV2

WORKS IN PROGRESS

WORKS

WORKS IN PROGRESS

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WORKS IN PROGRESS

atlanti5

MOUNTING

LANGHE/world heritage of humanity by UNESCO-TERRITORIO E SACRALITÀ: I thought about summarizing the concept in a "Cross of Bread" containing many meanings such as the effort of work, the products of the land, etc. By putting together dry loaves of bread as if they were stones, I created what reminds us of the "Body of Christ". On the top, there's a glass of wine which is the "symbol" of Langhe territory in Piedmont, but also a symbol for the blood of Christ in the Holy Grail. Everyone can find other links and combinations with their own sensitivity and experience.

PANE1

Territorio e Sacralità/2017
bread, wine, wood, glass
cm 90x186x60 - inch 35.43x73.22x23.62

pane2

GROUPE BOUHYER/NANTES: a small panel, part of the large wall composition in the atrium. A "counterpoint" for smaller spaces.

NANTES1

"INDUSTRIAL SYMPHONY" 2019
mixed media on aluminum
cm 90x90 - inch 35,43x35,43
Groupe Bouhyer/Ancenis/Nantes France

NANTES2
NANTES3

TO ALL FERRARI: : "To all Ferrari", I cut, shaped, hand-beaten sheet metal to reconstruct on a perfect scale the pieces of the Ferrari that made history. Then I welded them together to create a new "fantastic F.POP " Ferrari, a sort of phoenix being born again from its ashes.

AtutteFerrari

A tutte le Ferrari/1997
sculpture in painted steel
cm 208x170x70 - inch 81.89x66.93x27.56

FAMILY CHAPEL: it is always a difficult work to operate in a cemetery, "competing" against "the surroundings". Luckily the architecture I worked on was clean and neutral, already detached from the scenario built over the years. I have tried to do an "abstract" work even if the Cross itself is already iconic, narrating the path that every man takes during his life throughout volumes, cracks, engravings, thorns, etc,. As for the Madonna with the child Jesus, I opted for a decorative composition inspired by the Viennese Secession.

tomba1

Family Chapel/2009
lost wax bronze castings

TOMBA3
L1

WORKS IN PROGRESS: HOT WAX WORKING

L3

WORKS IN PROGRESS

L4

WORKS IN PROGRESS: FINISHING TOUCH

L6

WORKS IN PROGRESS: FINISHING TOUCH

L7

WORKS IN PROGRESS

_FOUNDRY5

WORKS IN PROGRESS: WELDING

WELDING

WORKS IN PROGRESS: WELDING

tomba2

WORKS IN PROGRESS: OXIDATION AND PATINATION

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WORKS IN PROGRESS: CRUCIFIX

TOMBA6

WORKS IN PROGRESS: DETAIL CRUCIFIX

TOMBA4

WORKS IN PROGRESS: FOUNDRY

L8

WORKS IN PROGRESS: MOUNTING

AUTO-SCULPTURES: they were born while looking at some broken children's toy cars. Then, I decided to go back in time for a moment, to when I was a boy too. I bought models of the cars that I liked the most, I disassembled and then reassembled them with clay, respecting the characteristic features of the various designs. I wanted to have a less sculptural and more archeological approach. I later melted them in aluminum and made some limited edition copies. I was more interested in merging ideas than melting down sculptures. Almost as if they had built themselves, Auto-sculptures, as the name implies.

IMG_7897

F40/Autosculture/1997
multiple, limited editions, aluminum casting with a possible marble base
cm 29x29x12 - inch 11,41x11,41x4,72

Autosculture

AUTOSCULTURE/1997
multiple, limited editions, aluminum casting with a possible marble base

AutoscF40

TROPHY MONTECARLO/1997
multiple, limited editions

DEER'S RESIDENCE: When this order came to me, I didn't want to make a sheep with horns, also because the deer reminds of another "more historical" specimen, beyond the park on the Stupinigi hunting lodge. I wanted my deer to also show the structure, the musculature and the movements of the animal itself. So, I took advantage of this opportunity to study its anatomy, spending wonderful hours, ravished, at the Regional Museum of Natural Sciences, as I used to do when I was younger at the Natural History Museum in London.

CERVO1

DEER RESIDENCE/1997
galvanized steel

Cervo5

WORK IN PROGRESS: HOT GALVANIZING

Cervo4

WORK IN PROGRESS: HOT GALVANIZING

Cervo2

WORK IN PROGRESS: HOT GALVANIZING

Cervo3

WORK IN PROGRESS: HOT GALVANIZING

ALTARPIECE: in this work, for what concerns the structure, I was inspired by the shaped Crucifixes by Cimabue and Giotto, in Santa Croce and Santa Maria Novella in Florence, considering them fundamental works for my training. I reinterpreted the guidelines in the key of "abstraction", even if they were already disconcertingly "abstract"!

zinco

ALTARPIECE/1995
engraving on zinc