A block of clay can really become anything. I let my hands work, wiser than me, I let them look for the first sinuous line, the first edge where the light breaks and changes colour to the matter.

I follow that line, I nourish the volume that is being created, I discover the need for concave and convex that balance each other. There is more intuition than project, letting speak the deepest side of me. It is a bit like a game.

A game, indeed, but a very serious one, because it is through this that I tell myself my story...

This is how I started, making women with no arms when I felt my incapability of ìdoingî, women with no face when I was not so sure of my identity. Then symbols, my belly in spirals, edges to define myself and shields to protect me.

The first set of sculptures tells about the relationship between parts of myself: the smooth surfaces of my rational side wrap my restless emotions, searching for balance and harmony in the absolute need of staying together.

Rational and emotional, these are the polarities that make the human being multicoloured and dynamic. Their synthesis is the beauty of living together with all parts of our being.

With no doubt the more rough sculptoric part, the emotional, the undefined, the imagination, serves both visually and conceptually as a cushion between the sharper edges and the more defined parts, the rational ones, that would otherwise confront each other in a probable conflict.

This becomes even more true when the relationship is between two sculptoric identities: their edges are defined, their identities clear, their rational side sharp, but in their compromise to form a whole they include a space for undefined matter, an intermediate space of emotion, doubt, even chaos.

This is the series of sculptures about relationship amongst two people: I want to give them a common base and parallel aims, may they be two, but may they create one unit, may they be hugging each other and look in the same direction. As long as they live their emotions.

I have the good destiny to live such a rich relationship and I have the urge to sculpt it.

Painting brings up different issues. It is like a stage, where something quite exciting happens, again unpredictable: my hand leaves a trace of colour. Than an other one, then an other one.

I start by feeling my need for colour and my need for movement. Many times the oranges, the yellows, the blues cover the canvas in soft patterns, until I feel I need an other colour, and I continue until I recognize what is surfacing from my deep end. I follow the suggestions that come from what I see, I define it, I look for its harmony and balance.

Then I investigate what it means in my life.

So many paintings of fire came out of my hands this way! To me Fire is the greatest energy of transformation: everything that the Fire touches, will never be the same again.

I avoid sharpness because lines suddenly conflicting, uncompromising boundaries, spiky corners, make me feel uncomfortable.

As in my life, I like to keep things flowing.