Nicolae documents a boxer's dedication to the art of Thai boxing. The intimate and silent relationship between the shooting device and the athlete projects the viewer between the breaths, movements and vibrations of a body born to fight.

The installation consists of an unusual punching bag, different from a traditional bag in that it is an empty and transparent envelope: a fragile presence. The ambiguity of meaning that characterizes this element is also celebrated in the performative moment: a Thai boxer hits the empty bag for hours, constantly finding himself forced to adapt his movements to the impact with a surface that cancels the effectiveness . of its action. At the end of the fight, all that remains concretely in space is the punching bag, engraved on the surface by the blows and sweat of the puffer. On the ground, the hand bandages used during his fight with the void. The work stems from the artist's experience with Thai boxing and reflects the complexities experienced. During the first exhibition of Untitled, the exhibition space was simultaneously inhabited by the sounds of three audiovisual works focused on the practice of boxing, which overlapped and merged with the sounds produced during the performance.

Self-building your own homes and spaces is the only way to establish a relationship of mutual growth and belonging with the place where you live. There are many ways of living, but the essence that unites them all is always that of making space for self-determination, protection and refuge, with aesthetics, forms and habits that are often similar and recurring in very different cultures.

Self-building your own homes and spaces is the only way to establish a relationship of mutual growth and belonging with the place where you live. There are many ways of living, but the essence that unites them all is always that of making space for self-determination, protection and refuge, with aesthetics, forms and habits that are often similar and recurring in very different cultures.

Edgy Time with Mom is a fan-made video starring the avatars of Jon Rafman and mom, Sandra, having fun in a scenario modeled on Brand New Paint Job. This world saturated with textures represents a kind of revenge against Rafman's persistent practice of appropriation, whereby the tampon is itself absorbed. In addition to questioning authority, authorship and copyright, Edgy Time with Mom solicits reflections on the notion of privacy and the affective dimension in a virtual space where stalking is not an exception, but the rule.

The event horizon is an imaginary surface, surrounding black holes, from which no information can come out. It embodies the limit of knowledge. In fact, the series of sculptures All'orizzonte degli eventi is the imaginative effort to represent fragments of this impassable space , through ambiguous and chimerical bodies, whose surface, of a reflective black, mirrors the outside that surrounds them. , distorting it. This series of five ceramics is yours within the artist's meta-linguistic research , placing itself as an affirmation of the impossibility of reaching the deeper ontological nature of the work of art.

The wanderer is a figure with a mixed and hidden nature, in every story in which he appears , any kind of entity can be hidden behind him . In the Viandanti series, the five shelves that compose it stretch out like hands towards the observer, offering five small graphite signs created from archive images. The relationship between drawing and support wants to embody the same ambiguity typical of the figure of the traveler, which is nothing more than a space of imaginative possibility, ready to be filled by the observer, trying to affirm the idea of the work of art as a but manifestation of uncertainty.

The print, in a single copy, is a high resolution rendering of the synthetic desert built on Blender and a set of the Desert Edifica tion video. The image is surmounted by a script taken from the web stream by searching for the term “desertification”. In the image, the term “desertification”, repeated several times, is modified with “desert-edification” to reiterate the active role of the body in the creation of these inhospitable spaces. Desert Edification _Panorama collects, on an overview of the virtual desert, the keys chosen by the web algorithms with chains to "desertification", among others: de gradation, facing, Africa etc.

The feeling of a nightmare to me is like a giant imaginary wheel, which as it coils around itself rotates with you, is very close behind you and you can only run forward with all your might. This is a scene that I really dreamed of . The brain that responds to the state of your body has synthesized a simple scene to express the pain, the bitterness you feel ; despite this summary, it is a very vivid scene. Inspired by my nightmares and by Füssli's Incu bo, I replaced the giant wheel with a beast with a long tail that marks precise detail: something we can only see in bad dreams. I did my best to make the weight of the animal, to share this feeling of fear when having a nightmare.

Within these irregular embroideries there are some cobblestones. They no longer perform their function and are therefore abandoned on the street. What I would like to do is give a new face to things. Through embroidery the object acquires a sense of protection and a lightness such as to make itself and others lose its primary purpose. The number 12 is a value that is often attributed to time. The moon completes its cycle of rotation 12 times in a year. 12 are the months that make up a year. The materials I use are closely linked to time and its flow. In this case, the cobblestones have assumed their function as a street for a long time. I use man-planted objects. Instead, the act of embroidering makes me forget time. As I cover them, the flow of time flows as if it didn't exist, but at the same time I totally immerse myself in it to observe the essence of things.

Desert Edification volume 1 is a collection of scientific and popular texts extracted from the internet stream. The texts address the issue of desertification from multiple points of view: climatic, geological, historical, etc. In the book the information is distorted, the word “desertification” has been replaced in more than 100 articles with “desert-edification”. The video aims to highlight the media confusion on the progressive desertification of inhabited and cultivated territories due to the continuous exploitation of the soil and the strong climate change. A theme that, despite being concrete and visible, is drowned by a communicative surplus that makes every authoritative voice an opinion . The title “desert-edification” invites a reversal of the point of view: from a passive to an active role. In fact, desertification implies in the word itself an externalization of guilt and of the possibilities of action, on the contrary the anthropocentric paradigm we are used to plays a central role in the creation of these inhospitable spaces. The images expose an alienating condition of a synthetic desert built in a simulated space, a perpetual construction site. The audio was created by layering videos extracted from YouTube with a high number of views; one of the most famous speeches is that of Sir David Attenborough whose voice dominates, together with some politicians, that of authoritative experts. The video images were created on Blender, a 3D design program that allows the simulation of virtual spaces and dialogue with Google Earth.