Were you always destined to be an artist?
I do believe I was, not necessarily a sculptor but surely an artist.
You were born into a family of artists. To what extent is your art influenced by their work?
At the beginning of my artistic career, my sculpture was consequently influenced by my father’s and my uncles’ work, but with time I became more fascinated by their lives. They were great men living in a great era.
From what do you derive your inspiration?
Essentially from everything I love, maybe that’s why you don’t find in my work reflections of war, crisis, oppression, etc. You will find more architecture, construction, science, cosmos, light, sun, etc.
What constitutes great art in your opinion?
Great art is emotion, force, uniqueness and beauty. Yes, beauty.
Describe your studio practice and your working methods.
My studio is a multi-material workshop. I work in stone, marble, concrete, basalt, wood, resins, steel, stainless steel and bronze. My work usually start with a maquette, but sometimes I attack the material and begin my sculpture with a complete improvisation, and no need to say that the more the risk is high, the more the result is spectacular and more doors are open.
An idea germinates in your mind and then what happens?
The first question is what would the material be, the second is technicality, third question whether I use a maquette or no and then no more questions.
Have your life experiences been transformative in terms of your career as an artist?
Yes, pain, death, war, love, birth, children. These experiences are charged with emotion, and emotion is energy for creativity. Each artist reacts differently to these experiences. Some will use its energy in direct form with direct expressions and direct dialects, others will be affected and touched, but the reflection of their experiences will be subtle or more difficult to discover. Maybe we shouldn’t put artists into categories, maybe analysing my own life and experiences is not what I am good at. Maybe protecting my energy and the mystery of it, first from myself, is a priority.
Has there been a principle influence behind the evolution of your work?
There are many influences: my father’s life, my mother’s poetry, architecture, construction, technology or simply a new epoxy glue.
When do you know that a work is finished, that it is the best it can be?
When I am in a creation mode, I engage an intense dialogue with my sculpture and in a dialogue you don’t talk all the time, you listen too. It’s the sculpture who tells me: it’s enough!
Is contemporary art democratic or elitist?
I live in a village, and I do sculptures that no one understands but everyone loves.
Say you knew you were going to die tomorrow. What would you want to take with you in a little knapsack?
A version of this article appeared in print in Selections, Sanctuaries #47, pages 70-77.
See more of our Sanctuaries videos by clicking on the following link: