The camera is my chosen tool. It has allowed me to see what one cannot see, to imagine what one can only catch a glimpse of, and to shape assumptions. I have been lucky enough to have great teachers from whom I learned how to bend tools to the creative will, how every limit can be turned into an opportunity, and how not to set boundaries for any factual manifestation.

The theater is my ideal environment to work in. At the right distance from reality, at the right level of transfiguration of the concrete, and at a high level of connection and sharing with the other members of the team. Through video scenographies I explore techniques and technologies turning different moods into images.

How do words turn into visions? And sounds? And thoughts?

A certain curiosity towards people and their activities is what pushes me into the world. A nomadic nature takes shape, a nature which does not mingle in the place it belongs to but redefines itself by combining in novel ways images and migrations to disparate territories from time to time.

To explore the human and its facets, to find the right visual synthesis, to enable visual narratives.

The research starts by looking outside of the places traditionally devoted to art and dives into the places of manufacturing with a continuously keen and floating gaze. Along this path, I meet the Ca’ Foscari University of Venice, where I manage to deepen my understanding of the concept of contamination of thought by critically studying corporate storytelling. To bring creative forms of expression in non-artistic milieus: this is the challenge I’ve been tackling with many research grants and fellowships and that currently lives in the collective I founded, D20 ART LAB.

Framing disciplines, experiences. Rephrasing doubts, reconsidering certainties.

At the same time, I am embedded in that segment of the world commonly defined as social. I work with disabilities and with people convicted to jail, experimenting with another facet of artistic language: its ability to slip into the social fabric and redefine the identities of people engaging with it. I bring these characteristics to other spaces as well: the production one – my research with Ca’ Foscari – or the movie one where I’m taking some explorative steps. Here too, I enjoy cross-fertilizing genres by bringing into play all my lived experiences and the cinematographic production tools. What keeps me moving are always challenges, curiosity. To keep on finding novel declensions to moving images.

Initially at the Academy of Fine Arts, and now at the University, through my teaching activities I try to transfer a way of seeing, thinking, questioning.