PERFORMANCE

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In my practice, performance is a field of presence and enquiry in which body, artwork and audience participate in the same perceptual process. The gesture does not merely represent an idea; it tests it through experience.

BEGINNINGS | Learning Through the Body, 2003–2004

Between 2003 and 2004, I presented my first performances at Artville Bistrot d’arte, moda e spettacolo in Lugano as part of a year-long experimental project.

I painted in front of an audience every day, sometimes using my body as a pictorial instrument. This practice taught me to recognise the reciprocal influence generated through the encounter between artist and viewer: an osmotic process in which presence, attention and gesture affect one another.

Repeated exposure to an unplanned gaze required me to stabilise my attention and establish an inner orientation. Gradually, however, my inner discourse became exhausted, leaving a prolonged silence and the fear of having nothing more to say or offer.

During that period, some works were sold, others given away, burned or stolen. I did not document this phase: I experienced it as a process of inner transformation entrusted to art. I subsequently withdrew from public activity for a time to devote myself to formulating Acentrism.

LIVING FULCRUM | Objective Art. Experiment and 7 Performances, 2020

Living Fulcrum is an experiment in the perception of an artwork, arising from my encounter with George Ivanovich Gurdjieff’s concept of “objective art”, as recorded by P. D. Ouspensky.

Seven public sessions took place from 14 to 16 February 2020 at the Elisarion Cultural Centre and Museum in Minusio, Switzerland. The work — a circular painting three metres in diameter with integrated LED lighting — was created as a site-specific work over 33 hours of focused painting, following two years of preparation in concentration and presence.

The audience was invited to suspend preconceptions, personal associations and automatic interpretations, in order to explore whether the work could be encountered through a more receptive and conscious form of perception. The reference to objective art introduced the hypothesis of an art in which neither the creative process nor the intended impression is left to chance.

The experiment was developed with dancer and eurythmist Giovanna Galimberti and vocalist Nadia Radici, whose a cappella voice contributed to the construction of the perceptual field.

Across the 77 anonymous questionnaires collected after the sessions, calm emerged as the predominant perception, coinciding with the inner state that I had declared experiencing most strongly during the 33 hours of painting.

Within the scope of the experiment, this convergence confirmed the working hypothesis: when the artist’s intention is sustained throughout the creative gesture, it becomes an integral part of the artwork and may be perceived by viewers when they suspend automatic interpretation and allow perception to precede judgement.

To cultivate this quality of vision, I offered participants the Technique for Objective or Hyperlucid Vision, received through meditative writing.

B.L.U — BE LIKE U, 2023

An interactive public performance held on 29 April 2023 at Nellimya Arthouse in Aranno, Switzerland.

Six participants — one at each vertex of a hexagon — entrusted to a glass marble and a mark of colour their intention to bring one of their natural talents into action, contributing to the collective creation of the artwork Starlight.

The action sheds light on unexpressed potential, on the need to collaborate synergistically in order to give form to our talents, and on the awareness that there is “still time”. For as long as Life allows, it remains the necessary field of action in which to discover, experience and realise the aptitudes of our individuality.

The true “sin” is therefore the failure to put oneself into action: allowing the faculties entrusted to one’s individuality to remain unused.

FIAT_trait d’union, 10 May 2025

A participatory performance inspired by Rosicrucian studies and Rudolf Steiner’s Anthroposophy. The body is approached symbolically as a trait d’union between matter and consciousness: from the mineral realm to the bones, from the blood — understood as the vehicle of the “I” — towards the body of light and the continuity of consciousness.

Within this symbolic geography, the bones retain the memory of the mineral realm, the blood carries the transformative impulse of the “I”, and the etheric body opens the passage from matter to light.

The audience was invited to move through this process and utter a single word, as though it were the only word to be spoken in an entire lifetime: a word essential enough to awaken the living principle within the person who speaks it — the very Force that animates Life.

Through body, breath and voice, the audience participates in a symbolic process of etherisation in which the word becomes FIAT: a cre-active act connecting matter, will, consciousness and light.

An invitation to experience transformation not as an escape from the body, but through the body.

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