Inspired by techniques that embody reproducible qualities, I explore ubiquitous paradigmas to celebrate uncertainty and non-conforming schemes as a precious dysfunctional resource, rather than a failure of functionalism. My research explores epistemological questions, and I often borrow semiotic investigation to unbound the subjects. I am passionate in pulling together several sensorial layers to challenge the experience with uncanny narratives. The meanings seem obvious but it immediately vanishes, vaporised by technical unexpected artifices, mimetic exercises and precarious statements.

I am inspired by manipulating perceptions, altering the well known sensorial sphere to develop awareness towards more inclusive and tolerant narratives. Being a disabled artist I started from personal experiences to explore a connective cultural exercise. Everything I learned about the audible has been possible through a hearing aid. Hence my interest for machines as extensions of our bodies, and the technological experience as a medium to discuss the traditional definition of living matters. If the arts can emancipate the subject from binary perspective of organic/non organic as hierarchical structures perhaps we can develop more tolerant cultural spaces, in which dominant positions rooted on effectiveness of the bodies are subverted.

Through my experience I developed a strong commitment to languages, not from a theoretical perspective but as a practical need. Having to dedicate a lot of effort in building accessible language skills I developed then a spontaneous attraction to semiotic debates. Still looking for a vocabulary that can connect all the agents without representing an average agreement around effective wordings.

Situating these personal experiences in the contemporaneity made me question the medi through technological exploration. In the past years I have been committed to photography as performative act in which the production of hyper-images became one with their generative process. The critical debate that refuses traditional description of expressive mediums is part of my creative process: I believe categories should not be functional to any form of cultural control or dominance.

The humans are always a central subject in my work, this does not mean that they are the dominant one. It is important to stress that I am focused on pluralities built through individual experience rather than singularities. Being a cyborg means that I have to negotiate my own multiplicity between human and devices, between machine and organic. This multi-existence moves most of my practice, I find that embedding multiplicity in the semiotical triangle can be a curious path to dismantle the safe territories of communication as act of supremacy. I try to coherently loose the purpose of my practice, to create an inclusive perimeter where the denial of the boundaries make this omninclusive dimensions.