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When an artwork evokes the sea, the association is almost automatic: a house on the coast, a boutique hotel, a yacht interior. But is that really the only possible setting? When I first started working with shells, I wasn’t interested in bringing the sea into a room. I was interested in their structure and the marks left by time. The spiral.The grooves.The weathered surfaces.The repetition of forms. These observations led to two very different interpretations. In Materia in c

When I travel, I realize I’m always drawn to the same details. A wall shaped by light. Masonry built with different materials. A surface that tells the passing of time without saying a word. Then I step into a traditional balsamic vinegar cellar, and I find that same feeling again. Here too, time isn’t something to endure. It’s part of the process. Perhaps that’s what I’m always looking for in the places I visit: everything that cannot be rushed. I like to think this is one o

It is light that makes the water so clear you can see the seabed. It is light that brings out the sea's emerald greens. It is light that glides across rocks shaped by wind, revealing every contour and, for a brief moment, turning them into almost human forms. The same coastline changes its character many times throughout the day. And each time, it seems to tell a different story. When I find myself in front of a landscape like this, I never think about taking a phot

This work was inspired by the memory of a journey to the Caribbean. It reflects an approach I often adopt in bespoke projects: starting from an image, a mood board, a place or an emotion, and transforming it into a textured surface designed to engage in a dialogue with the surrounding architecture. The artwork was integrated through a careful balance of formal, chromatic and material connections, creating a seamless dialogue between art and furnishings. The result is a piec

Few colours have travelled through the history of art with the same intensity as blue. During the Renaissance, it was the most precious of colours. Derived from lapis lazuli, it was reserved for the most important subjects, such as the Virgin Mary's mantle, a symbol of spirituality and protection. Centuries later, Pablo Picasso chose blue to express a more intimate and melancholic dimension of the human condition during his celebrated Blue Period. In the 1960s, Yves Klein

The theme of the upcoming Salone del Mobile focuses on material as a central element of design. Not as a surface or a finish, but as a presence. This is the same research that has guided my work for years in creating sensory, material-driven artworks. Material defines depth, rhythm and the perception of space. The material I work with has substance. It extends beyond the surface, creates its own shadows, interacts with light and transforms the way an environment is perceived.

L’esperienza del Salone a Milano è sempre intensa. In quei giorni la città cambia ritmo: il mondo arriva davvero qui.