My artistic career was fostered in my homeland, Basilicata: a region in the heart of southern Italy, immersed in the Mediterranean.
It is a region of extraordinary natural beauty, rich with archeological sites and an abundance of treasures to be discovered, dotted with a host of little villages lying on hilltops and mountains that have preserved the cultural and artistic influences of centuries of foreign conquests in their architecture, customs and traditions.
In our land it is possible to take in history in the depths of its layers: from the Ionian Sea to the Tyrrhenian, you can admire an architectural landscape that bears the traces of the various civilizations that came in turn - Greek, Roman, Saracen, Norman, Spanish ñ and discover the immense cultural heritage we have inherited from them.
The Sassi of Matera are an urban settlement that arose from various forms of civilization and settlement through the millennia: from the prehistoric trenched villages of the Neolithic period to the habitats of a rupestral civilization of eastern influence (9th -11th centuries), which form the urban foundation of the Sassi with their walkways, canal systems, cisterns; from the medieval center and fortifications of western, Norman-Swabian origin (11th -13th centuries); to the later Renaissance expansions (15th -16th centuries) and urban Baroque structures (17th -18th centuries); up to 1950, when the authorities decided to evacuate the dwellings.
My artistic background has drawn from and has been contaminated by all of these cultural, historic and artistic influences, all of which have their fundamental and endless source in the Mediterranean.
I was born and grew up in Bernalda, a town of 10,000 inhabitants where my family lives and where I return to visit whenever my work and family obligations make it possible.
I am the youngest of four children, all of whom are involved in the arts, though in different branches:
Gaetano, the oldest, is a sculptor, painter, set designer;
Michele, the second, is a film and theatre actor;
Riccardo is a musician....
Growing up in our home, there was always an atmosphere of great artistic liveliness encouraged by our parents, Antonio and Maria, who have always followed us and supported us, stimulating our curiosity and activity in the arts.
From the time I was a child, I followed the great talent of my mother Maria with concerted attention and effort, as she drew, sewed, and embroidered in creating clothing and home furnishings, and I showed an inclination for this discipline.
But the funny thing is that my mother most stimulated me to do recycling: the re-qualification, transformation and re-utilization of old material, used materials, old objects, cloth remainders, inventing new aesthetic/functional solutions....
And in doing so, my mother stimulated my creativity in the best possible way, nourishing my artistic career, since our ìgameî turned out to be the most useful and most in line with what I would later do in my work!
So my workshop is made up of works conceived in an artistic aim of pure creation ñ like sculpture, design, art-design ñ but also those with the aesthetic/functional invention of objects, home furnishings or recycled materials.
I have been living in London for fifteen years with Patrick Clahar, an internationally recognized, eclectic musician. He has stimulated and supported me in this adventure in London, a cosmopolitan city that has allowed me to measure myself with an environment filled with numerous civilizations, enriching my background of emotions and knowledge.
We have brought two wonderful children into the world: ten-year-old Lucas and eight-year-old Naima, both of whom have had no choice but to adapt to the atmosphere in our home, studying music with Daddy and playing the creative ìgameî of Mamma Lella ñ actually, that of Grandma Maria.
The work I am producing today has progressed to a point in which I may explore several dimensions at an emotional level.
The aspect that fascinates me the most ñ the one that I probe, explore and research continuously ñ is connected to an imagination that has its roots in the sensuality, physicalness and plasticity of the human figure. This is why the bodies that float in timeless, informal spaces take on a camouflaged symbiosis with the surface; they get deformed in relation to it, in some cases with chromatic analogies and at others with plastic analogies. I am also entranced by the metamorphic variations taken on by the figure. These variations are inspired by the surface that gives birth to them, the same surface that is the mother of all simple and natural things, but also of more complex and articulated things conditioning their nature in every instance.
With respect to these elements, my research winds in a supple curve between artistic figuration and a world made of objects, connected by a surreal thread in a sort of atemporal condition that I seek anew every time I undertake a project.
I am interested in a dynamism that thrives continuously on the things that characterize our daily life, in both its little and great features, just as there are little and great cultural diversities that are the fodder of our existence: it is from these, too, that I draw great inspiration.