top of page
origami 4ab.jpg
Selection of texts about previous projects 


(....) Accepting that we are what we eat

(food is one of the constituent elements of our multifaceted identity) is already very complicated in itself; but even more complicated is to imagine that in theory – and sometimes also in practice – the reverse would be possible:


The idea that someone bites into our meat or that we can find ourselves in front of a banquet of human flesh - perhaps believing that it is "harmless" beef - is what is presented in this exhibition project.


The meats - post-human - in front of your eyes are ready to be sold and eaten.

You are in a post-butcher-industrial at this moment.

It's up to you to choose the piece and how many KG of meat to buy.


Few practices appear ambivalent, grotesque, magnetic like the practice of cannibalism: an archaic and ancestral taboo, which has to do with the deep discovery of oneself and with the recognition that our identity can be violated, torn to pieces and eaten one piece at a time (....)









The Divorce is dedicated to the act of separating our society from the conception of absolute time; a manifesto to communicate the possibility of rethinking time, through our perceptions.

More then before, it’s clear that the true nature of time is not what it appears to us in our ordinary experience. Even if we are used to considering it as a flow of seconds/minutes /hours towards a single evolutionary direction, this is not the final definition for modern physics.

Time is a phenomenon that must be evaluated beyond any directional concept.

Time, both in the intuitive experience of ancient populations, and in the mathematical representation of modern researchers, seems to coincide in the vision of a sort of immense and infinite time span, with neither beginning or end. A dimension perfectly integrated and related to space, as shown by the cosmological model of the “chronotope”, suggested by Einstein in order to explain the phenomena of the universe in the perspective of quantum physics.

The perceptions of time are innumerable and each one of us has the choice to choose the best for himself. An act of individual freedom, because from this choice a new path could truly open up for the human being; the act of conceiving time no longer as an "absolute element" but as a perception - therefore individual and changeable - is in fact a concept closely linked to the main and most urgent unresolved questions of our era – like and not only - the search for a sustainable lifestyle, the equal relationship with Nature, the criticism of work and the society of abundance.

It might seem trivial that a simple change in the conception of time can truly revolutionize an entire planetary system. But I believe that I am not alone in considering it possible. 





Every aspect

of social,




human life


its fulfillment

when it is placed at the service of the common good.


The culture of care,

as a common, supportive and participatory commitment

to protect and promote the dignity and good of all,

as a disposition to take interest,

to pay attention,

to compassion,

to reconciliation

and healing,

to mutual respect and mutual acceptance;


the culture of care constitutes a privileged way to build peace.




There is no peace without the culture of care.










Collective sculpture 

The work presented here is the result of a collective experiment carried out during the RESET 2021 Residency, led by Valentina Sciarra and Voin de Voin.


It could be interpreted as a performance and the result visible here as "The remains" of an action that has just ended. / False.


True / Collective sculpture is far beyond a performative action, because it reveals within it - thanks to a video that is an integral part of the sculpture -

acts / actions / movements that don’t show the construction process of the sculpture,

but which represent a collective, immaterial, incorporeal, abstract, utopian collective actions.

These actions are integral parts of the surfaces but at the same time non materially visible.


True / Collective sculpture, if looked at carefully, has its own very precise logic,

the logic of collectivity in fact, therefore chaotic, mixed, convulsive.


True / collective sculpture has the merit of going beyond the limit of the absolute stillness of sculpture.


(site-specific installation's text on the facade of the Ministry of Energy Sofia / SAW 2020) 

енергeтиkа  / energy

акта или принципа за определяне

the act or principle of determination

Физическа сила, нерви и мускули, активна сила на тялото

physical power, nerves and muscles, active strength of the body













на морските вълни и течения

of sea waves and currents

Динамичните аспекти на човешкото поведение

the dynamic aspects of human behavior

Твърдост на характера и решителност в действие

firmness of character and determination in action









динамична сила на духа

dynamic power of the spirit

готовност и способност за действие

readiness and ability to act






of mass





(statment Vaska Emanuilova Gallery's exhibition Man, Woman and in-between)  

Every day all of us - whether man or woman – communicate.

We might establish a relationship of understanding and participation; or we might remain silent, intentionally omitting words in order to satisfy a more delicate or refined taste

(or even a duller and coarser taste).

I see an attractive and charming woman, endowed with vivacity and brio, vigorous and

exuberant; she also has seductive mischief,

in which her sensitivity and morality come together in a fruitful concordance.

I see a man, trying to resolve his conflict between reason and feeling,

a conflict that has gone on since time immemorial; lost, he feels a sense of inconclusiveness in him,

depriving the world of fundamental motivations of living, of socializing, of dialogue.


Man and woman, the diversity of minds and faces,both are a parallel of feeling and faculty.

Both of mixed temperament.



//// Sculptures as visible unreality ////  

 Sculptural language is closely related to the human desire to grasp those aspects of the mutation of matter that are experienced during the transformation from one organic state to the next one. Sculpture has in fact the ability to give life to visible unrealities *, that hide the passages that give life to these «unreality» and at the same time they maintain a close and indispensable connection with the form and the material itself and for this reason defined as "visible".

Sculptures combine a propensity for the fantastic and imaginative with scientific and material research. The strength of sculpture lies precisely in its ability to make the potential of the material and its formal expansion visible.

Sculptures are "signs" that open up new scenarios for a journey; they are an element, thus, of the conjunction between the possible and impossible, an escape from the conditions of the existing.

One cannot and does not have to use the material simply as one wants; the material has its own physical character, with its own identity and specific presence.

In my experience, it has a "stone" character, something that over time and in human history has become a cultural character. It is a character that for me is synonymous with mysticism, abstraction, and transcendence; and thanks those features of stone I can create sculptures that can investigate universal meanings and therefore be real « containers of

meaning ».

My greatest ambition is to create a sculptural work that possesses a good balance of rationality - it must be born out of a

need  - and of feeling – it must be a container of meaning . The work must fulfill these two elements in order not to become a simple dispersive story.

* From “Metamorphosis of the turtle" in Other inquisitions, Jorge Luis Borges, 1973.


(introduction text video installation for SAW - Sofia art week 2019) 

(...) We all live in a spelonca (in italian is a wide and deep cave, closed place, horrid and dark, such as to cause fear, shelter, shelter for people and dishonest works, shabby house)

The first background is foreseen by the contemporary urban condition, faced starting from the reflections of Lefebvre in The right to the city; a work that can define seminal in drawing the contours of the urban crisis

at the end of the 1960s. In this research, the experience was carried out to the industrialization and development of the capitalist economy, traceable to the basis of the work of many scholars of the contemporary city. We shall see the urban crisis as the representation of a drama in three acts:

the space of urban consciousness, the end of the city as a work of art, the urban space transformed into an exchange value.

How to regain the sense of the art-work, restore the urban conscience, rediscover the sense of community in the dispersed and liquid space of the cities?

Cities have within them useful elements for this purpose: resilience, social and human capital, but also physical space. Lefebvre, for his part, helps to understand how in this direction emerges the importance of some metaphors and spaces of cultural resilience to revive the fortunes of the city, bring it back to its being an art work.

For Lefebvre these metaphors are represented by « partyies or fiestas », by art and by emptiness: the fiesta is the ritual of creativity, of community building, of socio-spatial transformation to react to a state of crisis and drama.

The void is the place of the possible, the space of the party, where the “transformative performance that reveals important classifications, categories and contradictions of the [urban] cultural processes” is staged.

The third theme – art - represents practices as arts to prepare the “fascinating structures” of transformation / regeneration rituals. These arguments arrive at the concept of liminal as a reading frame for a category of residual and potential urban spaces, places of the fiesta, where art in the form of practices stages transformation.



I believe in an art that does not fix, but challenges identities (personal and collective) and for this it opens them to becoming and to being formed.

For this reason « a construction of sense » is the main point of all my works or exhibition project.

The act of aesthetic representation through sculptures, videos or installations, is only the ability to dismantle the automatism of visual perception, to give life to a universe of forms that allow us to see the world in different and deeper way.


Every work or project that I have done have in common a « construction of sense » directly connected with a continuous experience of the limits of man and his being.

Art is by itself repetition, but I think that what we call repetition is nothing but a way (perhaps the only way) of being on the time of the world . And this is because repetition, far from duplication, is a time of the untimely, a time that brings out an unknown development.




What interests me is the enigmatic paradox that derives from the tension between the simplicity of the plastic-visual material phenomenon, and the emerging world of ideas, which evokes large, deep, unlimited, unexpected levels of meaning. Every fragment, every detail of the work must reveal a solid, indubitable, objective and substantial link with the Whole.

Here all the key elements of the essential worldview (poetic, philosophical, physical and mental) come into play: the categories of space and time, movement, the primary expressiveness of materials, gravity and light, the concepts of infinite and finite, the dialectic between the whole and the particular. These aspects are expressed not in the dimension of figurative or symbolic representation, but through immanent presences, physicalized ideas, which trigger in the observer processes at the same time of sensitive perception and mental reflection.










The exhibition project arises from a currently research underway to the ruina contemporanea, closely connected with

a new definition of stone sculpture.

The ruina contamporanea has dissipated its ability to return a vivid image of history and to manifest the present form of a past life.

They are the ruins of their becoming made of previous works but also abandoned documents, unfinished attempts, inform remains, non-integrated surpluses.

Contemporary ruins are spaces and intermediate objects, placed on the boundary between real and imaginary.

They promote a suspension of judgment and disintegration of the look: they are not a conquest of a territory, they are not the recovery of an origin, but unlimited ‘’distractions ‘’, unlimited derives without goal.

The contemporary ruins are of course sunken and suspended, they are unfinished because the missing parts, they can not be assumed as they can not be deduced by the rest.



Bloodless transformation of stone

The works follows a new stone sculpture code that can be defined as “bloodless stone sculpture “. The way of acting is not directed to shaping - molding - giving form to the stone, but the focus is to growthing or transfigurating the potentiality of a “stone rock”. The sculptures are a consequence simple and direct of the original shape of the stone rocks. Every stone is chosen for its ability to suggest and for its ability to become. The plaster also comes into harmony with the stone and at the same time carries out an enforcement action.



In all installation works I made the common feature is being inconclusive or incomplete work - work in progress projects- . Because in them there is an implied process of transformation, an interweaving of the concept of space (where they are produced) and the concept of "sense" (the right meaning of the work). Both concepts are in this case "on going."


Currently my research followed a new directive, it is about the study of the "stone" (камък), seen as autonomous and sculptural body.

The last works realized and ongoing follow a specific directive: define a new code of sculpture on stone.

Starting from the basic difference between a sculpture and an installation, which is the characteristic of sculptures to be "free" from the space around them, they are also "unique" works not in the sense of the absence of reproducibility, but being sculptural work itself, detached from the surrounding context.

In fact, what brought me to choose "the stone" as basic material of the work has been the desire to make sculptures (in the classical sense of the term) which retain the same characteristic “of becoming” which is part of the installation works.


The mode of action is not aimed to modelling - shaping – make a form from the stone, but the action is about the strengthening or transfiguration of the intrinsic potential of the "stone".

The works could be interpreted as different or even antagonistic, but going beyond a first look, I am confident that we can discover the common assumption for each one, that is the "transformation" of a stone in a sculpture  "bloodless" or more “unbloody".







I wish to develop an artistic language that is expressed through things, raw or

semi-finished, without the worry of creating artistic and artificial products, considering the objects not according to the meaning given to them by man, but according to that line depending on the situation. So this is an art that happens, an art that focuses not so much on the "object", rather on its existence, in a tense dialectic between the object and its image, between the result and the execution process of the work.

An art derived from the space that it occupies and its "meaning", in fact.






(EN) At the base of each work that I realized there is a "search for meaning".
A search for meaning in a place through installations and photographic images, a search for meaning in the objects made to have a soul talking, and get out of a general anonymity, speaking of sense (in fact).
I prefer interventions in-situ because they have their own exclusive use skills, able to be shared spaces with those who will live that space.
When I think of interventions in-situ I do not just talk about installations dedicated to that specific place, but I conceive the intervention in-situ well as internal research to reinterpret the space according to personal and subjective standards.
This perennial and obstinate search for meaning probably arises from the need to communicate messages, to speak through the works.
I am an avid supporter of the theories of Zygmunt Bauman and I am puzzled for its clarity and lucidity in exposing the contemporary problems, including their solutions.
I'd call him a spiritual guide of the present and a constant source of mental energy.
A further argoment is this stubbornness for materials, because even all the installations, videos or photographs are available-materials to create a work. In fact, when I think of devising a project I do not only consider the choice between wooden or metal, cement or ceramic, video or photograph; but I think without limits or conceptual limitations. For this reason the "exhibition projects" - as III paesage or Esperienza di prossimita'- I think that the work can not be considered complete unless calculated as indistinct unity of photographs-installations-mixed media. No division between real or apparent material, everything and everyone plays a primordial role in the attainment of the result.

Currently I'm working on learning of a classical instrument, which is the stone carving. The decision to specialize me in this field stems from the countless and unexplored possibilities/meanings of the stone material. The year 2016 it will be the STONE YEAR.

bottom of page