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I was born in Milan in 1971, between the Wagner, Buonarroti and Pagano stops of the red line.
They are all identical stations. Only the name changes. It is written in Helvetica and each letter has been slightly modified and placed side by side with the next by the great Bob Noorda, creating an aura of icy, austere, penetrating composure.
Same thing for all the other metro stops.

Milan is at the center of a vast plain. Far from seas and mountains. Surrounded by infinite, complicated as a whole, practical if chosen individually, inconceivable infrastructures. And from beautiful ring roads. With 360 ° exits, in every direction. I took many, both to escape (here they say so) and to return.

The house where I was born has a very long corridor. Disproportionate to the number of rooms it has to connect.
My uncles, my parents and their friends all work in the fields of design, graphics, art or publishing.
I walk my corridor countless times. For two decades. It is dotted with abstract, minimal, conceptual, indecipherable works of art from the 60s and 70s.

In 1990 with a specialization in industrial design I left the house from the long corridor ready to enter the Milan that it produces.
It is suffocated by a surplus of objects and insistent advertisements ...
I don't go there.

I have been studying ceramics for a few years. In Milan, Tuscany, Spain and by renowned masters in Veneto.
I seek in the plasticity of this ancient material the freedom to expand in any direction without constraints or specific purposes.
As a professional I run a ceramic workshop in San Sebastian for six years. An enchanting citadel of the Basque country that I highly recommend visiting. Even though my laboratory hasn't been around for a long time.
In 2000 I leave all the practical complications involved in the work of the ceramist to express myself, through painting, on two-dimensional surfaces.

I observe the environment around me with detachment. (pop scratch on the site)
I reproduce, by combining them, the ordinary and everyday textures that surround me. Taken as a sample, as evidence of our habitat, as indications of an orderly, standard and repetitive way of behaving.

I observe and photograph individual inhabitants in different capitals of the world forced into urban geometries. (flatland on the site)
I propose them again within rigid two-dimensional paths. I then consider the whole through the sculpture "Massa" exhibited at the Arnaldo Pomodoro foundation in Milan in 2008

I observe the infinite city, from above, from further away. (maps on the site)
From google satellite.
I paint maps in search of a utopian orientation, they are dreamlike visions of vast territories without a center.
I identify details of these maps and reinvent them with concrete materials. They are always fractions of a territory but reduced to a signal, isolated fragments, sometimes random, but elevated to subject.

I don't observe.
Throwing, trampling, shredding auction catalogs. (secret papers on the site)
I make an explicit criticism of the market and the art system. I bundle up icons of art incorporated, alas, by the market and financial speculation. An iconoclastic struggle for the supremacy of the language of art over commercial value.

My exhibition itinerary begins with two personal exhibitions in 2005. In Milan at Luciano Inga-Pin and at Zvono Gallery in Belgrade. These are followed by numerous others, both personal and collective, in Italy and abroad.