Born in Rome (IT) 1983.
Lives and works between Rome (Italy) and Sofia (Bulgaria)


(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.









































































































Io credo in un'arte che non fissa, ma mette in discussione l'identita' (personale e collettiva) e per questo la apre al divenire, al formarsi.

Per tale ragione una « costuzione di senso » e' il nucleo principale di ogni mia opera o progetto espositivo.

L'atto della rappresentazione plastica, attraverso sculture, video o installazioni, e' solo la capacita' di smontare l'automatismo della percezione visiva, per dar vita ad un universo di forme che permettano di vedere il mondo in maniera nuova o piu' profonda.


Ogni lavoro o progetto espositivo che ho realizzato ha in comune ogni volta « una nuova costruzione di senso » direttamente connessa con un'esperienza continua dei limiti dell'uomo e del suo essere.

L'arte e' di per se' ripetizione, ma penso che cio' che chiamiamo ripetizione altro non e' che un modo (forse l'unico) di « essere all'ora del mondo ». E questo perche' la ripetizione, lontana dal duplicare, e' un tempo dell'intempestivo, un tempo, cioe', che fa emergere uno sviluppo sconosciuto.










































In tutti i lavori installativi che ho realizzato la caratteristica comune sono l’essere non opere definitive o concluse, progetti in corso d’opera. Perché in esse vi e’ sottointeso un processo di trasformazione, un intreccio fra il concetto di spazio (luogo in cui sono realizzate) e il concetto di “senso” (significato proprio dell’opera). Entrambi i concetti sono in questo caso “in divenire”.

Attualmente la mia ricerca ha seguito una nuova direttiva, volta allo studio della “pietra” (камък), intesa come corpo autonomo e scultoreo nel suo essere.

Gli ultimi lavori realizzati e in corso di studio seguono una direttiva specifica : definire un nuovo codice di scultura in pietra.

Partendo dalla differenza sostanziale tra una scultura e un’installazione, ovvero la caratteristica propria delle sculture d’essere “libere” dallo spazio che le circonda, esse sono inoltre opere “uniche” non nel senso di assenza di riproducibilità, bensì essendo lavori scultorei in sé, ovvero distaccati dal contesto circostante.

Difatti ciò che mi ha portato a scegliere “la pietra” quale materiale base dei lavori è stata la volontà di realizzare sculture (nel senso classico del termine) che conservino però la stessa caratteristica del divenire propria dei lavori installativi.


La modalità di intervento non sarà rivolta a modellare-plasmare- dar forma alla pietra, bensì l’azione si concentrerà sul potenziamento o trasfigurazione delle potenzialità intrinseche di un “sasso di pietra”.


I lavori potrebbero essere interpretati come diversi o anche antagonisti, ma andando oltre un primo sguardo, confido che si possa scoprire il presupposto comune di ognuno, ossia una  “trasformazione” della pietra in scultura definita “incruenta”.



Desidero elaborare un linguaggio artistico che si esprima attraverso le cose, grezze o semilavorate, senza la preoccupazione di creare prodotti artistici ed artificiali, considerando gli oggetti non secondo il significato loro attribuito dall’uomo, ma secondo quello che rivestono a seconda delle situazioni.

Si tratta quindi di un’arte che accade, un’arte che pone l’attenzione non tanto sull’oggetto, quanto sulla sua esistenza, in una tesa dialettica tra l’oggetto e la sua immagine, tra il risultato ed il processo esecutivo dell’opera.

Un’arte derivata dallo spazio che occupa e dal suo “significato” appunto. 




(IT) Alla base di ogni opera che realizzo vi è' una ricerca di senso.
Una ricerca di senso in un luogo attraverso installazioni e immagini fotografiche, una ricerca di senso negli oggetti realizzati perché possano avere un'anima parlante, e uscire da un anonimato generale, parlando di senso (appunto).
Prediligo gli interventi in-situ perche' hanno una loro esclusiva capacita' di fruizione, potendo divenire spazi condivisi con chi vivra' quello spazio.
Quando penso a interventi in-situ non mi limito a parlare d'installazioni dedicate a quel specifico luogo, ma concepisco l’intervento

in-situ anche come ricerca interiore volta a reinterpretare lo spazio secondo canoni personali e soggettivi.
Questa perenne e forse ostinata ricerca di senso nasce probabilmente dalla necessita' di comunicare messaggi, di parlare attraverso le opere.
Sono un’accanita sostenitrice delle teorie di Zygmunt Bauman e rimango interdetta per la sua chiarezza e lucidità' nell'esporre le problematiche contemporanee, comprese le loro soluzioni.
Lo definirei una guida spirituale del presente e una continua fonte di energia mentale.
Ulteriore punto fermo e' questa ostinazione per i materiali, perche' in fin dei conti anche le stesse installazioni, video o fotografie sono dei meri sturmenti-materiali volti a comporre un'opera. Difatti quando penso a ideare un progetto non mi limito a vagliare la scelta fra legno o metallo, cemento o ceramica, video o fotografia; bensì ragiono senza limiti o limitazioni di natura concettuale. Per tale ragione nei “progetti espositivi”

- come III Paesage o Esperienza di prossimita’ - penso che l’opera non possa considerarsi completa se non calcolata come unita' indistinta di fotografie-installaizone-tecnica mista. Nessuna scissione fra reali o apparenti materiali, tutto e tutti giocano un ruolo primordiale per l’'ottenimento del risultato.
L’installazione credo rappresenti la forma artistica che prediligo, d’altronde, l'installazione è forse quella dove meglio si concretizza questa poliedrica visione dei “materiali” e quell'’esaltazione dello scarto e dell'’intervallo (o pausa) che Gillo Dorfles individua come elementi fondamentali per un “recupero di nuove possibilita' espressive ed esperienziali ” in un mondo caratterizzato da un “assoluto prevalere di un’ arte del consumo”. Uno scarto che ha investito gli aspetti formali e significanti di questo medium, tanto che potremmo dire che si e' creata una pausa, una sospensione, tra il significante e il significato originario che ha permesso la nascita di quella nuova espressività di cui parla, appunto, Dorfles.
Attualmente sto lavorando all’'apprendimento di uno strumento classico, quale è' la scultura della pietra. La decisione di specializzarmi in questo dominio nasce dalle innumerevoli ed inesplorate possibilita'/significati del materiale=pietra. 

L'anno 2016 sara' l'anno della PIETRA

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