My formal training at College of Art, and at the Academy of Fine Arts and at the
Goldsmith School in Florence, once “forgotten” offered the opportunity to portray
my love for horses in the form of miniature bas-reliefs cast in precious metal,
to express their personality,
and to demonstrate that the monumentality does not depend on size.

The years that I entirely dedicated to create unique jewellery for royalty has given
me a lot of satisfaction and a sense of great gratitude, and it is thanks to it
that I was able to begin my work again in a new light.

My horses portrait series, perhaps, is one way of demonstrating that it and
myself had something to wait for,
which would make our wait worth all the time it needed.

By working most of the days at the portrait of my horses,
I realised that my passion lied with sculpting them in movement
rather than human models in absolute immobility.

And in order to depict horses as no one had ever done before, and to see nature as
if art never existed, it is essential to have such a disciplined and comprehensive
knowledge of art that it becomes second nature to oneself,
and can consequently be "forgotten" and thus fructify the search
for a personal style by which to render the artist`s own sense of visual experience.

In the summer of 2010 I had resolved to make a new beginning in my art,
resuming work directly from nature.

I have applied myself more to sculpture than to painting because the problems
posed by the added dimension demands the greater self-mastery and
generates a greater self-discovery.