The space between a subject and an object can be considered as a cinematographic film. The time that naturally elapses between the two is decisive for their mutual influence.
A ceramic object has intrinsic values. All the parts of an object, from shape to decoration, accumulated information all over the time. Their “being” states and their continuing to “be” is a condition continually crossed by time releasing innumerable enigmas to which I can only support new questions through the practice of sculpture and painting.
If the contents of an ancient vase are ideally turned over, we would observe, from its shape by its weight and its colors, how infinite and dense its contents are. If we reflect on how many men and how many spaces that object belonged we get information about spaces, symbols and dissolved signs whose memory rests, for example on that object, with dignity.