As Sculpture doesn't deny the possibility of having different points of view over the matter of investigation then why that matter, that subject should be fixed and not capable of varying depending of different circumstances.

The first objective became to see up to which point drawings can stand the force of gravity.

Studio view, 2005

"Strange Flowers bloom in my Garden", acquaforte, 2007, 200x70cm

Unidentified, 2005

"The Harvest", iron and polyurethane, 2009, 47 x 95 cm, h 220

Sculptures that could adjust and change, so to be site specific, without any given site.

Sculptures that could move so that they can't be site specific, because they can't stand the site.

Sculptures that generate shapes and volumes, scientifically in a random way.

The drawing, the architecture, defines, intersects, slices and punctures the space, so that inevitably matters gathers and orders itself, battling geometry. Beast, 2010, 300x100 cm h200 cm, various materials. Detail.

"In Bloom", iron and polyurethane foam, 2009, 60 x 140 cm, h 168 cm. Detail.

A Place I don't want to be. Art most of the times is like war, you have to take position for a side or another. You have to take position by action. What you will decide to do will determine your position. But unlike war you don't have orders to follow, even though some artists act as if they do have. The discomfort for the use that most of the times is made of the so called sculpture brought me to move my self back in the ranks, back from the avant-garde, back from the safety of the second and third rank, back form the base camp and out in the hills, in the woods, back to the farthest origin I could find to clear my mind from any kind of order arbitrarily generated m that had become an answer without question over time. Going back there, there was drawing, there where the coal drawings of buffalos on the cavern walls, there was the space made by the feet around the camp fire, there was the bee's trajectories in the sky to show the direction and distance of the closest field in bloom, there were the spirals of a magnet force field. Drawing is the potential, the project, the source language that then is declined in its various dialects, painting, sculpture, architecture, sound, geometry and ballistic of a dog's pee. Everything contains a bit of drawing, but only drawing contains a bit of all of them. Drawing's anorexic relationship with matter but rich history as precious tool for sculpture made me understand that that was my side. My place was there, using the possibilities of sculpture to solve drawing's demands, rather than the opposite. Because detaching a drawing from its surface demand a support that drawing doesn't have, fighting against the gravity force is not in its possibilities. So I built this possibilities, having drawing climbing up a slope, standing in the middle of the room, flourishing and growing like grass on galleries floors. And drawing became hungry, hungrier for matter, hangrier, and started to call upon itsself anything, to prove it could direct also once that it had become real. That it could be project and execution at the same time. Drawing claimed its possibility to be beyond the limit of something you can circumscribe and became landscape. Became something around your vision, became something outnumbering you possibility to number, something beyond your possibility to circumscribe and summarize. Drawing became something unpossessed.

Therefore, being that my side, representation of shapes and images and shapes seemed an unacceptable reduction of the possibilities that could have a chance of being explored. Then in some way came the desire of working on the nature of drawing as a project, as a mechanism through which having things to happen. The possibility of drawing becoming a machine that produces drawings, or a drawing moving into space, or a drawing defining a new space, being at the same time tangible.