"A little over a year ago, I was on my way to see Morandi at Palazzo Reale when I found myself circling around the Napoleonic centerpiece. There was something eluding me, something that surfaced from its material but did not immediately return to the eye.
The mystery did not lie in its function as a celebratory object, nor in its being the model of a mad urban vision of a utopian, neoclassical square, full of Latinisms and empire. What escaped me was that this was not a miniature, but the actual square. The exact physical place where the fate of the outside was decided. Not the public square, then, but that table adorned with decorative bronze objects was the true political machine from which emanated the transformations that shape the world.
The same bronze that, on reflection, manages to inscribe two primary properties within its very fiber: its physical reality as a conductor of heat, and its historical role as the chosen embodiment of heroes.
So I began to think about how these table monuments could be translated today, and these forms were born. Optimized to dissipate heat and germinated from the object-based intuitions of Sottsass, Colombo, Mangiarotti’s ashtrays, and Mari’s centerpieces.
I wanted to condense into these objects the two forces of movement observed so far: the internal, physical one, which excites atoms, makes them vibrate and collide, and the external one, which bursts from the object and stirs stomachs, agitates bodies, inflames the outside.
Both transform this matter of the world, starting from a single hot core, that dense and private point around which the decision-making force of power is formed. I wanted this magical transition to demand a sacrifice in the form of smoke. A minimal yet charged gesture: a decision-making ritual that becomes a sacrifice offered to the altar of authority."
These works were realized thanks to the support of the Matteo Visconti di Modrone Prize, promoted by Fonderia Artistica Battaglia and Miart.
