When taking the grinder to trim a marble block, which took millions of years to transform into a solid, yet flexible, rough, but sensitive, rough, but beautiful substance, I realize that I cannot eliminate part of these characteristics in the process of creation of my sculptures. When creating a stone sculpture, I don't want to be seen as flesh, nor to be touched and felt with the lightness of wood. Just as I like to preserve its characteristics when this stone passes through my hands, I try no1
When taking the grinder to trim a marble block, which took millions of years to transform into a solid, yet flexible, rough, but sensitive, rough, but beautiful substance, I realize that I cannot eliminate part of these characteristics in the process of creation of my sculptures.
When creating a stone sculpture, I don't want to be seen as flesh, nor to be touched and felt with the lightness of wood.
Just as I like to preserve its characteristics when this stone passes through my hands, I try not to erase the marks of the tools that gave it soul, in the struggles and dialogues that I have been fighting with the matter, over days, months and years.
Beauty is what I look for when I create a sculpture.
I don't like to talk about what my sculptures mean to me. This remains for those who observe them.
I like to talk about the stones I use and the techniques, in the end, about the whole creation process. What's inside them ... it stays for me.
It would be as if I were revealing what each child is for me ...
I try to involve each work in a moment of reflection, beauty, sensuality and even sexuality: the greatest proof of love.
This proof of love can be found on an insect perched on a flower, on a tree with fruit, on a fish with the current, on a fragment of a log or, simply, on the buds of an orchid