Commission, Communication and Timings
coMMIsSIon WoRKS.
CoNTacT mE FoR a peRSoNALizED qUoTE.
Wall Forniture
Each creation can stand on the wall like a painting or find its place as a decorative object, depending on its narrative and form. In the details of each piece, you’ll discover the variations and ways in which it was conceived to blend in with its surroundings.
Artistic Lighting
Pieces can become a refined light source or an original artistic furnishing element. The illumination, ranging from candles to LED systems, creates evocative atmospheres and enhances spaces with unique visual effects even in darkness
Alternative Decor
My works are designed to enrich the home environment as true furnishing elements. The ability to customize them adds value: a unique way to harmonize colors, shapes, and sensations with the style and taste of those who receive them.
Shops Reception
These are ideal objects not only for private environments but also for public spaces. My creations add character and uniqueness to hotel lobbies, art galleries, shops, and places that stand out with an original and personalized style
COmmISSioN, coMMuNICatiOn and TimiNG
The sales commission includes:
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an initial interview, supported by any materials or contributions provided by the client, to better understand the idea and vision of the work to be created;
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a rough estimate, indicating a minimum and maximum spending limit;
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a limited number of possible and feasible changes compared to the initial concept;
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the creation of the final product.
To achieve greater expressive freedom, I made a specific technical choice: not to fire the final works. In my way of working with clay, the complexity of shapes and volumes can generate internal micro-voids that, during firing, would risk compromising the integrity of the work. But this choice is not merely a matter of practical necessity. It is the result of a research process that has led me to favor a more direct and sincere rendering of the gesture. Without firing, the material preserves with greater purity the imprint of the hands, the tension of the modeling, the very essence of the idea that generated it. On the other hand, the work retains a declared fragility. A condition that I do not consider a limitation, but an integral part of its meaning: a delicate balance between form, material, and intention.
A LimiTEd NumBEr Of COmmISSioNS ArE MaDE Per YeAR
To achieve greater expressive freedom, I made a specific technical choice: not to fire the final works. In my way of working with clay, the complexity of shapes and volumes can generate internal micro-voids that, during firing, would risk compromising the integrity of the work. But this choice is not merely a matter of practical necessity. It is the result of a research process that has led me to favor a more direct and sincere rendering of the gesture. Without firing, the material preserves with greater purity the imprint of the hands, the tension of the modeling, the very essence of the idea that generated it. On the other hand, the work retains a declared fragility. A condition that I do not consider a limitation, but an integral part of its meaning: a delicate balance between form, material, and intention.