11 October 2015


Tradition and Experimentation, two key issues in the world of ceramic, impossible is the existence of one without the other.
While the first is the acquisition of a knowledge handed down often in a passive or unconscious way for thousands of years till now, the second is research, expression and studies towards unexplored ways.
The learning of traditional techniques and of theoretical and practical knowledge is important to invent and test new works, away from the simple definition of ceramics as applied art.
The experimentation is a language not easily comprehensible for the new way to express that creativity which is found in the mind and the hands of the artist. A creativity that is beyond a rational control ordered by a daily scanned by futile material needs, far from the instinctive thirst for FREE EXPRESSIONS.


After several years of renewed passion and expressive research in decoration on ceramics and canvas, I instinctively moved, without giving up painting, to sculpture that I retain necessary for an artist:

It is the physiological translation of the creative impetus that becomes real.
Reminiscence of suffered creativity.
Unconscious emulation of a gesture that satisfies any anxiety of frantic identity research.
The thought that hits the Amaterico is … .. “is real”
It’s the embrace to the invisible that wants to be “live”.
Loving correspondence of energy.



I began painting when I was a child under the careful guidance of my father, a master craftsman who passed on his love for ceramics and his knowledge of technology and painting, under strict compliance with ancient techniques.
After many exercises I starter the study of shapes and of ceramic painting, retracing the style of Renaissance artists.
I have always understood the importance of a classical style for the formation of an irreversible aesthetic sense and of beauty as harmony of shapes and colors.
A discipline that has ordered sharp thoughts after the marks of important people of the past.