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The glass is the common denominator of expression based each time on the semantic expression of the medium according to the various plastic formulas: the work has its own practical nature and, thence, arching into the events perimeter thousand of visual sollecitations, arising from depths fraught of scales; on pavement it may be animated by an internal motor who determines the dynamic cyclicity: proposing interactive solutions able to coniugate the sense of space and its measure through the movement (this is the case of the "Glass-grinder").
It is the light which reveals itself as the strong character of the installations and underlines the geometrical data, fixed to irradiate an energetic effusion starting from the centrality of the work to become the glow of the debording force from the physical limits of the sculpture.
The transparency consents the opening of air spaces, paths of the look which urge for directions and break prespectives up while asserting the volumes deceptivness multiplied on the thickness and the forming chromatics (the water-green colour legible in the sheets and the sections). Some of the works enclose the idea of the labyrinth, visible in his external surface a diamond point scratches and draws at time a tumultuous and expansive informality which is anxiety of intervention and participation at the same time - signed just by the conjugate with lyric intuitions, intimistic visions take body in the synthesis of calculation and emotion.
It's transparency where the synthesis of the artis experiments itself; the works spring up from an imperious way of taking possession of the world, through the visual dimension which is exalted by the union of colour and light. The poetry of the fragment, meaning shattering the pane into fragments introducing it into a casing made out of the same material (for example in the "Packing Glass in Glass Boxes"), pressed by movements which continue to disarrange the tissue, is for sure a representation of the tensions in the contemporary sector. In the case of the "Glass-grinder" the fragments which are located in a moving centrifugal casing, continue to modify until the sharpness is completely smoothed and their form gets close to a round result, a rush of perfection towards the dimension of magic, so that the work is not finished in his formal definition, but continues to be modified internally by the mechanical stress of the machine.
The parts of glass whirl in an apparent chaos, which is also indicated by the deafining noise of the operation being almost the stroke of a cosmic clock able to report the internal settlement of the elements, converted from the danger of cutting to an aesthetic functiond of linik between the before and after a diacronic journey through projecting and carrying the work out. And if inside a parallelepipedon - activated to transport, like suitcase ("MicroGlassVideoInstallation for a Walk") - there is a little screen which sends with obsessive repetition a fragment of "something lived" shut in the film, "the real" permits the user to construct in his or her own conscience the sense of a bristling story, full of feelings and emotions (it couldn't be but like this) flamed on the display of an objectivity so ambiguous to appear in some sense incorporeal.