The Sculptural Dialogue: Matter, Memory, and Human Presence

For the artist, the act of creation is not merely an aesthetic endeavor but a profound "dialogue with materials." This relationship begins with an inherent appreciation for the "aesthetic potentiality" and the deep historical resonance embedded within physical substances. By engaging with these materials, the artist discovers forms that mirror the complexities of the human condition—translating internal states such as "rage," "intimacy," and "pudore" (a sense of modesty or the desire to hide) into tangible shapes that occupy real-world space.

From Two-Dimensionality to Spatial Power

The artist’s journey from painting to sculpture was marked by a pivotal realization regarding the power of objects. Initially focused on drawings and sketches, the artist was challenged by their professor, Elsa Caio, to manifest a sculpture in three-dimensional space. The transformative moment occurred during an exhibition when a viewer interacted physically with the work, shaking it with intensity. This interaction revealed the fundamental difference between two-dimensional art and sculpture: the latter commands a space that the public shares, creating a visceral, immediate energy that exists only through the physical presence of the object.

The Philosophy of the Process: Resistance to Waste

A central tension in the artist's studio is the ethical weight of production. In an era where the world is "collapsing under the matter," the sculptor grapples with the accumulation of leftovers and the egoistic nature of creating new objects. This is why the artist expresses a deep affinity for iron; it is a material that is "worth in itself," leaving behind no excess. The process of creation is treated as a form of "resistance"—a conscious choice to operate at a "human measure" and "human force" rather than succumbing to the "bulimic industrial way" of production. By slowing down and honoring the integrity of the material, the artist resists the modern culture of "consuming and wasting."

The Metaphysics of Shape and Destiny

Central to the artist’s work is the concept of the Bivio—the crossroads where one must choose, an irreversible act that mirrors life itself. The sculptor believes that "the shape changes the destiny" of an object, fundamentally altering how we perceive the material from which it is made. This research extends into the thematic exploration of death and the "materiality of being." Because our existence is tied to our physical bodies—which change shape and eventually cease to function—the sculpture serves as a mirror for our own mortality. By presenting materials in unexpected ways, such as revealing the fragility in iron or the strength in a leaf, the artist uncovers hidden possibilities, inviting the audience to reflect on their own relationship with the material world.

Conclusion: Art as a Human Mirror

The sculptor’s practice is ultimately a search for truth in an age of acceleration. By refusing to let production go "faster than the matter," the artist views their work as a way to reconnect with the reality of our existence. Each gesture within the studio is a conscious act, intended to be visible to the public, fostering a shared experience that diminishes the sense of loneliness in a precarious world. Through this dedicated, slow, and honest interaction with matter, the artist offers a space for the viewer to confront their own materiality, providing a meditative pause in a world moving too fast.