Extract from the catalog of the exhibition

“Vicino.Non qui”
"Near.Not here"

of the Galleria Civica of Trento.

When did you understand that the job you are carrying out could be your way?

Here I stand, I can do no other
[Martin Luther]

I don't like the concept of the street. It’s too much about careers. I would prefer the concept of organism, of predisposition. Also, in genetics there is a predisposition. However, certain genes can be dormant, i.e. not active. As far as art is concerned, I would say that it was woken up in my twenties. Before that, it was half asleep. However, I mostly behaved and acted like an artist. Then through my wife I met the first artists in Germany who wanted to follow art professionally.  It’s since that time that I have seriously dedicated myself to art.

What are the essential themes of your research?

Less is more!

Art exists, poetry exists, beauty exists, but conflict also exists: external and internal conflict. At some point these components merge into sublimation. The artistic goal? The simplicity of the aesthetic result. The "less" in fact! Since in the less  there is the more.

Advantages and difficulties of your work and your creative environment?

In the north of Germany I have a lemon tree.
It gives me two poor fruits. The fruits of its persistence.
I too must learn to give my best, where I am, now, immediately!

I live this being an artist like a tightrope walker. The equilibrist walks on the rope distanced from reality and keeping a good balance with a pole, the pole of art. Getting distracted means falling. Going up again becomes increasingly tiring.

How do you relate and how do you see your work within the dynamics of the contemporary world?

I would answer like this:
Can you swim in the sea of ​​lies?
Such as?
Realizing that by lying to yourself, you are drowning!

What relationship do you have with your area of ​​origin, Trentino, and how does this "origin" marry with your research and with the city where you live today?

At night
I look at those two who sleep in the pee of the others under a blanket.
Burnt from existence or saints?

My "aesthetic imprinting" was created in Trentino. It is there that I was born and lived my childhood and youth. However, remaining in a literary language, I would say that Trentino is basically for me what the Marches were for Leopardi. "Indeed, observe that perhaps the greatest part of the indefinite images and sensations that we experience even after childhood and in the rest of life, are nothing more than a rimembranza*/remembrance of childhood, referring to it, depending on and deriving from it, are like an influence and a consequence of childhood; either in general or even in particular »(Giacomo Leopardi, Zibaldone)

As for my relationship with art in Germany, I was reading a text by De André in which he said that Marinella's song was born from a little piece of a newspaper in which there was talk of the finding of the body of a prostitute in the dry bed of a river. I have never forgotten this. When I was at the art academy, there were endless discussions about what art was. De André's artistic act is an excellent example for me. From a short article on the discovery of a corpse, to Marinella's song. Pure existential poetry.
I don't think, however, that if I had proposed this example then they would have accepted it passionately. They would probably have classified it as an example of romantic patheticism. It is an artistic process devoid of that much loved intellectual discourse in Germany that at the beginning I strongly supported, until I noticed that intellectuality as well as being sometimes pure cerebralism also became an obstacle to what for me is the most important thing in art : the search for simplicity.

* Note added posthumously by the author.
We wish to point out that the Leopardian concept of “rimembranza” is not to be understood only as a simple act of remembering, but as an act of reliving sensations.
Still Leopardi on “rimembranza”: .. that is to say, we experience that sensation, idea, pleasure, etc., because we remember and we represent the same sensation with the imagination, image etc, experienced by children, and as we experienced it in those same circumstances. So that the present sensation does not derive immediately from things, it is not an image of objects, but of the boyish image; a memory, a repetition, a repercussion or reflection of the ancient image.
Giacomo Leopardi. Pensieri di varia filosofia e di bella letteratura.