Why TRASH?
"TRASH IS THE MOST STRIKING SYMBOL OF CONTEMPORARY WESTERN SOCIETY AND OF IT'S PRESENT CRISIS"
Trash Invades us, covers us, and the obsession for "the new" leads us to always look for new areas to hide the old, the broken and useless.
New spaces "Outside" of ourselves.
Outside because once there waste is not visible anymore,
just as it is out of the view the dissociation from the natural environment, which we percieve as far away, like something we go to visit as if we don't belong there.
A series of works that comes from a profound reflection on the troubles of western urban human beings today.
Uprooted and away from our planet, more and more isolated and alien to the context in which we live, but for which the innate and instinctive part of our soul longs.
This yearning for our roots is manifested by neurosis, depression, and a sense of inner emptiness more and more evident that we try to ignore through the obsessive pursuit of fun and of a sense of contentment, and the compulsive need to purchase goods and items.
This runaway process is similar to the act of throwing out waste,
which is something unwanted,
rather than rework it and turn it into something useful.
My choice to use waste and to create works that are strongly characterized both by the context in which they are exibithed and by the history behind them, is born from my desire to tell and exorcise this social suffering that in recent years has been exacerbated by the financial world crisis.
All my work are born from the collaboration between various people who spontaneously gather and provide me the materials or by the casual collection of trash found in interesting places.
The installations and performances are always born by spontaneous cooperation of strangers, and the objects that build up the work will return to society transformed and with a new value.
Nothing is completely predictable in my projects, objects and people, but also the places where everything is exhibited help to give a unique tone and specific look to the final result.
