Bolognano Visionnaire
Esoteric Alembics, Bolognano (PE), Italy, 2016

Within the context of Bolognano Visionnaire, a project promoted by Lucrezia De Domizio Durini and devoted to the development of a territory conceived as a permanent space for artistic research and experimentation, the presentation of the ceramic works from the Esoteric Alembics series forms part of an investigation into the symbolic and transformative potential of matter.

Through the alchemical process by which earth is subjected to fire, ceramics become a site of metamorphosis, embodying an archaic, ritual and esoteric dimension within the form. The Esoteric Alembics thus evoke a process of transmutation in which matter and spirit, form and symbol, the visible and the invisible enter into dialogue.

The presence of these works in Bolognano also acquires a particular significance in light of the extraordinary experience of Joseph Beuys and the research developed by Lucrezia De Domizio Durini around the relationship between art, nature and social transformation. Within this context, the ceramic work becomes part of a broader dialogue between matter, territory and the immaterial dimension, contributing to Bolognano’s vocation as a place of experimentation and encounter between contemporary artistic languages.

Soft Nostalgia
Vessels and Unique Works in Bucchero, SAG’80, Milan, Italy, 2026

On the occasion of Milan Design Week 2026, I participated in Soft Nostalgia, an interior design project curated by Giuliano Andrea dell’Uva for SAG’80. The installation, conceived as a sequence of environments — bar, living room and bedroom — reinterpreted the language of Art Deco through a dialogue between the atmospheres of the 1930s and 1970s and a contemporary sensibility.

Within this narrative, my vessels and unique works in bucchero were presented as material and sculptural presences, establishing a dialogue between art, craftsmanship and design. The deep black surface of bucchero, rooted in an ancient ceramic tradition, introduced a tactile and archaic dimension into the space, resonating with the installation’s exploration of memory and materiality.

Conceived as unique works, the vessels transcend their functional dimension to assert themselves as autonomous objects, bringing together tradition and contemporaneity, memory and design.

© Andrea Ferrari (fotografie)

Terrificanti
Collective Exhibition, Sartoria Vico, Via Ampère, Milan, Italy, 2025

In 2025 I participated in Terrificanti, a collective exhibition at Sartoria Vico in Milan, alongside Alessandra Modarelli, Luisa Bertoldo and Linda Calugi. The exhibition brought together distinct artistic languages in an exploration of the uncanny, the enigmatic and the unexpected.

Within this context, my works entered into dialogue with the other artists through a shared investigation of matter, form and the poetic potential of the object. The intimate setting of Sartoria Vico became a space where familiar forms were transformed, acquiring new and evocative meanings through their juxtaposition.

Terrificanti explored the threshold between the everyday and the unsettling, allowing the object to become a vehicle for imagination, memory and suggestion.

Il Vaso di Pandora
Contemporary Ceramics Exhibition, Villa Filiani, Pineto (TE), Italy, 2026

From 1 to 14 August 2026, I participated in Il Vaso di Pandora, an exhibition dedicated to contemporary ceramics, held at Villa Filiani in Pineto, alongside Pietro Pisano and Roberto Fabbri. Supported by the Municipality of Pineto, the project takes inspiration from the myth of Pandora as a starting point for a reflection on the present, on social transformations, and on the relationship between memory, responsibility, and hope.

Ceramics becomes the language through which the artists’ different practices converge, creating a unified journey in which matter assumes not only a formal but also a symbolic and narrative function. The works engage with themes related to contemporary experience, knowledge, and identity, inviting the viewer to consider the tangible dimension of material alongside the more evocative and immaterial dimension of myth.

The exhibition also places particular emphasis on its relationship with the local territory, engaging with the historical and archaeological memory of Pineto and with a series of initiatives dedicated to the knowledge and preservation of the local heritage. Collaborations with local organisations, including Dimensione Volontario ODV, the TATTO Ceramica workshop, and Archeoclub d’Italia, extend the project beyond the exhibition itself, bringing together art, ceramic practice, inclusion, and cultural heritage.

Within this context, Il Vaso di Pandora presents ceramics as an ancient yet profoundly contemporary material: a medium through which to question the present, preserve memory, and open a space for reflection on the future.

Metamemoria

Bunker Gallery, Florence. October 2024

Taking part in Metamemoria – Majapahit Terracotta Statues (1295–1500) at Bunker Gallery in Florence was an opportunity to engage with a distant memory: that of the ancient terracotta sculptures of the Majapahit culture.

My ceramic works enter this dialogue as a contemporary reinterpretation of forms and suggestions rooted in the past. Through material, gesture, and the transformative process inherent to ceramics, ancient forms are observed, reinterpreted, and brought into the present, without the intention of faithfully reproducing them.

It is within this passage that the idea of metamemory emerges: memory is not simply preserved, but reworked. It becomes a material from which new forms, new associations, and new meanings can emerge.

Ceramics make this process particularly tangible. Clay preserves the artist’s gesture, passes through fire, and emerges transformed, carrying on its surface the traces of what has taken place. Each piece thus becomes a meeting point between past and present, between what is remembered and what is imagined anew.

In this sense, the works presented at Bunker Gallery are not simply objects inspired by an ancient tradition, but forms of transformed memory: fragments of a past that, through ceramic matter, find a new way of existing in the present.