Learn a trade for a rainy day. This is the very first thing that came to my mind while reading your biography given all your education experiences: from your diploma in Graphics, web design and communications to finish with DAMS, cinema  faculty.

The creation of countless projoects with other artists has inevitably influenced you with positive benefits without walking away from your own art vision. One of your distinctive features are wings through which you created a project named RAW

What do wings represent for you?

Generally, they are the symbol of freedom. Do you believe in the same association with liberty, or do they have a more spiritual sense to you?

In my artistic vision, wings represent the non-flying, the helplessness in face of one’s life. They a re a sort of burden we carry and make use of. This happens as our society, since the beginning of civilization, has always repressed every single attempt to fly.

I am mindful that this vision may sound a little bit pessimistic, but in fact it is the reality. As long as RAW is concerned, it was a sort of game at the beginning that turned out to be successful that replicated several times thanks to the cooperation of friends, indeed I don’t see it a my personal project but more a collective one.

Another recurring leitmotif  in your works is definitely light. In another interview, I read that among the episode that influenced your career the most there is The Beheading of Saint John the Baptist, by Caravaggio.

What is the role that light has in your works such as Scylla and Charybdis or Necessarily bipolar? But above all, would you mind explaining how two works of yours could benefit non-experts?

As for Caravaggio and his works, I cannot express the right words to explain his greatness. In my art, light is a sort of companion in my journey from the beginning but it is never the same. Over time takes on different functions. I like shaping it, change it and subdue it to my artistic will.

As for the works you mentioned, Scylla and Charybdis, light is used as a color since it colors the two globes giving a different identity (yellow, blue, harsh light and cold light). Instead,

Instead, in “Necessarily bipolar” light simulates the explosion of the globes representing the real state of energy.

"Scilla and Cariddi" - Light sculpture. Copper, steel, plastic, fluorescent light 2017 Courtesy of the artist

“Scilla and Cariddi” – Light sculpture. Copper, steel, plastic, fluorescent light 2017 – Courtesy of the artist

I would like to continue to speak about wings and light. I’d love to go deeper into one sculptore called “Una volta volavo #1” (I used to fly #1).  In my personal view, I reckon that this sculpture can have a different meaning for every person with a introspective use. Did you create this work in the light of a necessarily negative event/situation?

"Una volta volavo #1" (I used to fly #1) Light sculpture Plexiglass, felt, wood, led light 2017 - Courtesy of the artist

“Una volta volavo #1” (I used to fly #1) Light sculpture Plexiglass, felt, wood, led light 2017 – Courtesy of the artist

 No I did not. As I was saying before, the incapability of flying is something we all share and as you said, each one of us assign it a different sense considering that it has a leverage over regrets.

Obviously we all have regrets, I do too. I like to say that this work originated from my so called works of time:“Una volta volavo”(I used to fly), “Anche per oggi non si vola”(And we are not flying either today) and “Non volerò più”(I will not fly anymore). Three minimal installations that subsequently originated  sculptures and other works, some of which are still unpublished.

While browsing your website, I was pleasantly intrigued by your interactive installation PROTEIC O…. Could you briefly tell us how the idea was born and its implementation?

What was the public reaction to it?

This work was created in FARM CULTURAL PARK. Given its great success, I presented this project on the occasion of the review of “Essenziale. Certe volte sogno. Altri Mondi” in Rome, and I am going to continue.

Salvatore Camilleri – Courtesy of the artist

Salvatore Cammilleri – Courtesy of the artist

People are always excited about interacting with works because especially in this case, the strong irony becomes a mean to involve even if the real concept is more serious. Indeed I make use of antique symbolism of eggs to underscore the mortality if human life.

PROTEIC O ... Interactive Video Installation 2015 - Courtesy of the artist

PROTEIC O … Interactive Video Installation 2015 – Courtesy of the artist

On May 26th, 2017 the public can see you and your works at LEVELS ART EXHIBITION, at Faenas bistrot&café. The event and the exhibition will be led by Ignorarte (www.ignorarte.com) of which you are artistic Director. We have the chance to ask you for a double opinion. From an organizational point of view, how did you organize the event and the exhibition for the following 15 days?

Being an event with other artists, what can the public expert from it?

The project was born from visiting the premise. Often it is the premise itale that “suggests” solutions: you just ned to “listen” to it. In this specific case, the venue is a three storey building so the title of the event is “LEVELS”. I am displaying one work stemming from “PROTEIC O…”. If you are curious, you know where to go.

Article & interview by Loriana Pitarra

English translation by Chiara Vilmercati