Santa Severina is loaded with the survival drawings of time, so it is history; it is history that gives meaning to that rock, but time without us does not exist.

An “agitated serenade” for the launch of a ship on the hill of Gardone, where an illiterate sound will bring the sea to the battleship Puglia exactly 100 years after it was given to Gabriele D’Annunzio by the Navy and positioned by the poet to dominate the horizon.

The inhabitants of Pietra (Stone) move swiftly through the tunnels excavated from the rock: they are women and they are lizards, they are men and green lizards.
They come out of their winter lair to welcome the fine weather. Scales, rattling, clapping legs, in an exuberant, carnivalesque din.

* The artistic intervention carried out for Valle d'Aosta was transferred to Tones Teatro Natura, Oira (VB) in Piedmont.

I observed how we visitors gripped our phones, taking pictures of the most wonderful mosaics and other architectural remains from Roman times in Aquileia. So… what if our phones could not only “take” but also “give back” some experience here, to share in relation to the past and present.

"VICTIMULA" reenacts the ancestral tradition of gold digging in Vermogno: halfway between a collective game and an actual investment, "VICTIMULA" is an augmented reality app to collect virtual gold nuggets.

This work offers a space to reflect on the relationship between everyday life and a slower flow of time, a place to stop and think about how we measure our lives in relation to the cycles of nature.

A sculpture at the entrance of the village with braids of rope leading to hidden photos: this is my project "Follow the Braid", in which the theme of metamorphosis is used for the portraits as a tribute to the Castle, but is also the essence of my work and activism.

For an entire day water and sky were one, the upper world was not yet separated from lower one. Horizon then was created, to separate. "Axis Mundi", composed of Pollina’s stories, is reacting to the village strong connection between metaphysical and physical, between faith, geography, and nature.

You have to stay there, sit down, repeatedly walk through the narrow passages, understand that first of all there are the places, then those who live there, understand that the space in which we find ourselves was made by emptying the streets and houses of unnecessary noise.

In thinking about the project I have contrasting thoughts, sometimes I see it as an abundance of decoration: a symptom of a seductive decline; at other times like the skin of a nomadic wise man and the signs of a meaningful life. This doubt, along with others, gives me the urge - and why not? - to embrace it.

Starting from a prison letter by Gramsci about the Gongilo, I explore the archetype of the snake in an atemporal key by means of an installation of videos and sculptures comparing the sacrality of nature with the community of Belvì and its oral and scientific knowledge, with the intention of reactivating a Natural Science Museum as a container for new narratives.

I think of the ‘rock of Lieta’ as someone or something with whom we experience an authentic encounter, where it is possible to feel with the heart, listen with the eyes and take care. Thus we act in the line of the essential, we unveil through the act of doing, we make memory to respect identity.

"Pila Thinkerwiller" is an analogue device that turns on at the moment it is installed and contains the portrait of a time, a place and a community, created from the ideas of the people who live in Toscolano.

From the mechanics of the foam I can deduce an overall architecture, a geometry that evolves until it dissolves. When the sea that covered Costozza receded, the fermentation of its seabed generated small voids in the stone, the memory of the first inhabitants to populate this land.

"Rosa Mystica", traces back to the mutation hypothesis of the wooden statue of the Announcing Angel to Madonna Rosary. By adorning them in digital attire, our aim was to honor knowledge systems integral to Fosdinovo’s community and reframe the virtual as a spiritual realm.

"Eight Types of Whistles" is a multi-channel sound installation – a choral composition of human whistles – that reflects on the theater's fragile communal work system, its rules, and superstitions. The translation of the piece's auditory features constitutes the series of images "Rehearsal #1-#8"

I can feel the water moving inside the mountain beneath my feet, but I cannot see it. The water creates pathways between the cracks in the clay soils that envelop the ophiolites. On the micro-scale, the water breaks up the clay slabs, dispersing them, pushing them apart and swelling them. The water evaporates, the clay shrinks, the terrain cracks, the mountain is still moving.

Time stands still in Maruggio, as if citizens secretly know how to slow it down. Fragments of history sparkle through stone walls and traces of saints who walked the streets of the town. Another, invisible, timeline is present. This border is my point of departure: a gate protecting Maruggio's past and future

Snowmen are like clouds, like waves: we know their shape, but each one is different, they never repeat themselves. They are unique and at the same time universal.