The research addressed in recent years has focused its attention more and more in depth on the relationship of the body in reaction to architectural spaces, on the genesis of movement based on the forms and suggestions of the visible realities in which the body fits.
Current research focuses on basic concepts which composes tangible and abstract space, as if to fill significant theories already articulated in the artistic field by the painters of the 20th century, first of all Wassily Kandinsky.

“Punto,Linea, Superficie” is the title of Kandinsky’s book from which the Research is developed, taking strongly into account the scientific-artistic analysis of the three elements.

The project is divided into Chapters (I, II, III), each of which contains a certain number of “Studies” which arise from the technical, theoretical, crystalline clarification of the intrinsic properties of the shape, of the graphic sign minutely analyzed in the function and then , once they have come to the essence, to get to real free “translations”, but at the same time to match valid parameters regardless of the type of media used (body, camera, canvases, and so on).
The “translations” are many and different, many of which go through Body Practices developed over time and brought back into play, just as there are many means used and the figures involved: musicians, graphic designers, light designers, designers, video-makers, photographers, writers, dancers, actors, performers, architects. The project makes use of the collaborations of several artists and professionals figures in various sectors and areas (not necessarily artistic in the strict sense of the term), which operate, depending on the work phase, to return to the hypothetical viewer more than a “product” but a testimony, a proove of research that becomes itself artistic product.

The direction of research is firm and rooted in concepts based on what in art history has been termed as a “qualitative” painting and geometry treatise.
Concepts of physics, mathematics, painting, composition are thus merged into multiple levels of analysis, from the imaginary and abstract to the more material and concrete.
Over time, the project aims at an overall composition of all the translations that have in logical sequence their own colors, their own sounds, their own characters that can, as in a painting, intersect each other at the sharing time.
The simplicity of the most primitive issues will be made in the search for the purpose of listening to the form and making it audible, visible and instructing “senses”.