The idea that it is possible to live on the planet without the burden of an economic model based on an unequal distribution of resources, on the disparity of privileges, on the exploitation of a part of the population, is a topic that interests me, although I am very skeptical about the possibility of extending such awareness to a large number of people, and above all that it will translate into practice.

I state this despite feeling close to some schools of thought and action that have animated the processes of cultural transformation of our time by collectively attempting to escape the primacy of the economy over human life. Anyone can see how such primacy has provided false values and misleading objectives, slowing down the evolutionary process of man, but also how it is extremely difficult to reverse this trend.

I therefore consider the work of those who can propose new interpretative models to generate the energy necessary to overcome the indifference with which such issues are usually approached to be invaluable. I believe that art is an indispensable component of contemporary life.

Since adolescence, I have decided to transform my everyday life into an expanded space of experimentation, and I have practiced, more than decided rationally, that I would not give up my desire, nor would I submit to the sale of my time or carry out any project that had only economic motivations.

Paraphrasing artists from ex-communist countries, my goal was to create poetry, not propaganda. I have never accepted funds or subsidies to create my relational works, except for the economic contributions derived from some of them that constituted an integral element of the work itself. I have collected resources from financial markets and have allocated the resources produced to realize them. I did not intend to lose even a millimeter of my freedom of action.

The main motivation for occasional research for economic resources was to be able to live without sacrificing the objectives or conditions of existence of the projects. I have avoided the temptation to associate myself with movements, trends, or groups to which my works could have belonged, giving myself the opportunity to place my peculiar approach to making art, and thus I could not verify whether my works could be 'suitable' for the world of contemporary art.

With difficulty, the horizon of my reflection has had the opportunity to be captured, a reflection that at times has been sufficiently anticipatory or divergent from conventions to make me inadequate to my time. It is no coincidence that, if I could choose a historical period in which I would like to live, I would prefer an era not yet arrived, rather than indulge in forms of nostalgia for a bygone era.