This is why you needed drawing, as you said earlier... That's right. Of the courses I took, one was with Alessandro Rossi, and it proved extremely useful in transferring what I observed through drawing with a pencil into shaping the same things in glass. For example: a borses leg, whose bone structure is divided in three parts plus the hoof and not two like most of the masters do. It also important to have natural talent. In any case, drawing is very helpful. Technique is also important, because in lampwork a very high flame allows you more freedom to work on details.

What is the genesis of your world where the human figure and movement become the central theme of your work? Even as a child I was attracted by history, by the images of soldiers and costume-clad figures whose forms derived from classical Greek Roman and Byzantine art. Butyou bave to shift your focus, and my first form of expression were not in glass as you see it now in my works. I went through phases dedicated to painting, to clay, even to making molds for masks. And for quite a long time I displayed a variety of different things in my store-window in Sant'Aponal in Venice in order to earn a living. But I was always more interested in glass form than color. To be able to extract a iife out of a glass rod.