Double curvature is at the heart of my sculptural work.

I observe that nature constantly seeks to obtain the greatest possible resistance with the least possible material, and that it finds in the curve the key to this quest. To be convinced of this, it is enough to observe shells, plant structures or a simple eggshell. Their resistance is based on their curved, doubly curved shape, and not on the mass of material used .

It's the opposite for most man-made structures...

Nature places material precisely where it is needed, that is, on its potential fracture lines. By observing these fracture phenomena, we can then construct extremely strong buildings with a minimum of material.

I like the idea that one can feel the same wonder, the same moment of suspense, in front of my sculptures as in front of nature itself, the builder.

Above all, I want to build in three dimensions , work in space, and propose this dialogue with a place, with a context and the human energies that intervene there. I seek to organize the material into aerial structures, both imposing and light.

The deployed volumes can be impressive, but we always see the sky through them, and they remain almost impalpable. Their structural, powerful and graphic soul comes into play in harmony or in contrast with the elements present (buildings, trees, street furniture, paths), thus revealing new perceptions of the site to the people who walk through it.

I assert my irrepressible need to build . All the lineage of the Italian masons who preceded me and who built a lot passes through me.

However, it is in stripping down that I chose to build. No more cut stones, concrete, or weight: only clean lines, minimal structures in all their strength and lightness, like pencil strokes in space that draw forms that are both stable and in motion.

I work with steel, particularly in the form of rebar. This is a material considered "ungrateful." It is generally immersed and hidden in the concrete to give it strength: by bending it, weaving it, braiding it, I enjoy showing that it is possible to make more delicate and poetic things from it.