I studied art in high school and Industrial Design at university in Italy. In the post-graduation, I started exploring video, VJing, music video and video art. In the beginning, I was mostly visually obsessed with landscapes: natural forms were constantly mutated by digital interactions and so I got into glitch aesthetics. Still today, rocky textures are fundamental in my work. Bodies were a later investigation and also an obsession.

The thing is to create a constant ambiguity between worlds. This also happens in photography: some elements of the costumes are real, others are added in post-production maintaining the texture and colours of the real elements. I was influenced by several worlds: David Lynch’s surrealism, the aesthetic of some movies like Cronenberg’s Crash, Iris van Herpen's material abstraction but also a lot comes from what I see online.

The contamination of these worlds, the digital poltergeist of a more than real reality. The point of collapse is the singularity that connects them, the parthenogenetic development of a new reality.

I like the idea that we can escape the concept of reality through computer graphics and by constructing thousands of new planes of reality. This is the most interesting aspect to me.

I often think about the constant ambiguity between the digital and the real worlds. I realised this watching the process of copper’s reduction and glaze while I was working on some sculptures at Bottega Vignoli in Faenza, which allowed me to make some effects on clay that I was trying to achieve digitally. Here, too, contamination is fundamental.

I was looking at one of the first clay sculptures I did while I was working on some digital projects. I could see in the sculpture some features of Boccioni’s masterpiece Forme uniche della continuità nello spazio, and from there I began to explore the jagged and uneven surface, developed in space and beyond the limit of the material. My sculptures are often based on minimal and precarious surfaces. The breaking point is always nigh. Right now I’m working on a clay armour, the idea is that it can be worn and at the same time it supports itself when it isn’t.

The human body is the animated form we know most. I believe it is aesthetically fundamental to animate places, to show their spatiality through the knowledge we have of it or through our own dimension. I’m working on the mythological aspect of bodies, their mutation into something else while still looking human, changing them through metamorphosis and visual deceptions.

It is uncertain whether the digital could take over our inherent nature and mutate us into something more connected to aesthetic than nature. I can see some threads already at work. I can see the digital looming over nature as an ubiquitous drone monitoring our reality, spying on our secrets and trying to reproduce them into our own original being. Working on the digital is the labour of trying to be ready for such a complex transition, to be good with such a disruption.

I’d like people to be visually injured by the punctum of which Roland Barthes talks in The Light Chamber, a small place which hits the eye and enchants it.

The models are three Eurydice from the underworld; no Orpheus has taken them from the flames/underworld but they themselves have struggled to escape. Their armour protects them from the darkness they come out from. I had this idea while I was somewhere with some friends of mine. The three of us were walking into a dark tunnel and I suddenly got the vision, which I tried to reproduce in the shooting.

Fashion will be more and more influenced by the digital. The possibilities are wider and fashion more reachable. I hope the digital can eventually work on ecological sustainability to produce eco-friendly high-tech materials through research and creativity, enhancing production systems and distribution in that direction.

Right now, I am working on the Surreal Italy project, an experimental film on surreal landscapes and hidden geological structures in Italy. Then projects related to underground fashion. I'm constantly looking for collaborations, the web overflows with so many interesting personalities, beautiful human beings and cute aliens.

I would like to reduce the gap between the creation of digital and real garments. I want to go deep with ceramics esoteric techniques with metals and I am working with my friend @_vvxxii on polymers, trying to create ambiguous visions and ‘more than real’ realities.