The Synecdoche series began during the residency “Mappare l’imprevisto” in Ulassai, in June 2025, run with FIONDA in collaboration with the municipality of Ulassai and Stazione dell’Arte. There I worked with a camera and paper.

The photographs of the place were first printed, then cut into shapes and finally transferred onto white paper, with the intention of leaving every photographic reference behind. The abstract shapes were then recomposed into three self-contained “islands”: each one holding within itself the precise identity of the place.

Moving from paper to porcelain, I worked on more essential compositions, looking for new balances of openings, inlets and lines that allow a fluid, multidirectional movement within the space of the frame. I worked the porcelain in very thin slabs, with little finishing, to keep the immediacy of the cutting gesture.

For all its minimalism, each Synecdoche stands for a real and specific place, and the series remains open to the investigation of others.

Synecdoche. A part for the whole.

• A memoria di forma, solo show, MIDeC museum, curated by Fabio Carnaghi, Cerro di Laveno Mombello (VA), 6 September – 30 October 2026
• Contemporary Perspective on Italian Ceramics, Avant Craft, curated by Valeria Zerbo and Amalia di Lanno, London 2026

This series comes from working on a selection of fragments, experiments and prototypes I have archived over my years of practice in the studio.

Very few elements are often enough to generate configurations that are entirely accidental and yet surprisingly well matched.

Each Rima can be a utopian architecture or an entire universe, changing scale according to how one stands in observing it.

Monolithic or ephemeral, these are works that invite acceptance. Acceptance of instability, of imperfection, of transience, in favour of a rediscovered — unexpected — beauty.

Text about the exhibition and the body of work: where the project came from, what holds the pieces together, how the title came about.

The show follows the fourth edition of Premio MIDeC, which included the Menzione Imago.

The Janas series was born from a traumatic event, after ten years of coming to terms with a sudden loss.

In Sardinian, janas means “fairies”: shy, benevolent, generous creatures who lived in the woods of pre-Nuragic Sardinia. Their name may derive from the Roman god Janus, guardian of thresholds and passages.

Porcelain abandons any geometric definition. It rises in forms curved just enough to stand on their own, thin yet balanced. The edges are torn along a path guided by gesture. The surfaces are layers of coloured porcelain sand, ash-based engobes and iron oxide: a textured, shifting skin that invites you to come closer.

Together, these sculptures form a landscape of many horizons, made of thresholds that converse with the space, with neither front nor back. They invite movement and observation, until one reconnects with a distant yet vivid sensation, one to be reclaimed.

• A memoria di forma, solo show, MIDeC museum, curated by Fabio Carnaghi, Cerro di Laveno Mombello, 6 September – 30 October 2026
• Secret Ceramics, Sotheby’s, London 2026
• Contemporary Perspective on Italian Ceramics, Avant Craft, curated by Valeria Zerbo and Amalia di Lanno, London 2026

The work began inside Be Brave! (2022). One of the decks is made of inlaid confetti, with the provocative idea that if the structure falls, the porcelain confetti are set free and the break opens a new game.

From that intuition came an independent line of research, leading to a series of coloured confetti and whole “sheets”, incised with circles and stars, from which the confetti are freed by a deliberate gesture that is, in fact, a breakage.

The material, usually perceived as rigid and vulnerable, becomes an opportunity to overturn perception: fragility is no longer an accident to avoid, but a founding part of the project and of the gesture through which one relates to the work.

• From the Ground, Circolo del Design, Turin 2026–27

The Be Brave! series is made of four decks of cards, all different from one another, to build houses of cards with.

It is a project that is explicitly activated by an action, and that challenges the viewer to face that feeling between attraction to a forbidden object and the awareness that its potential breaking would be irreversible.

Between attraction and fear the line is often thin. One emotion is closer to instinct, the other to reason. Building these houses takes calm and concentration and, implicitly, acceptance of risk. Once assembled, the house of cards takes on an almost two-dimensional, translucent form.

Looking at it brings wonder and tension, yet the house stays incredibly in balance, inviting us to reflect on our relationship with the transience of things.

• Contemporary Perspective on Italian Ceramics, Avant Craft, curated by Valeria Zerbo and Amalia di Lanno, London 2026
• Winner of Premio MIDeC 2025 and Menzione Imago
• Finalists’ exhibition, MIDeC museum, curated by Fabio Carnaghi, Cerro di Laveno Mombello 2025