The image has been at the very heart of my reflection: the image guides the body, which is given the possibility to move within an invisible landscape. The time of these actions is fragmented into many small pieces, as in the video Madam I'm Adam. The image emerges from memory, from a fragment of reality either consciously constructed or naively lived. My interest has always been focused on analyzing, breaking down, and reassembling an image: in video practice as in choreographic composition, the decomposed image becomes a set of elements that can be arranged into sequences with infinite possibilities. Underneath, like an intrinsic substratum, a thought must remain — an emotion, a motivation to explore, to search, and to find. The image thus becomes the centre of the construction of a language akin to that of music: dance as a score that follows the story, the vision, the desire to move toward them.

I have always been interested in the structures of the materials I choose to analyze: even in a narrative text there is a precise structure that can become a kind of dramaturgy of gesture. Each moment can be seen not only as sequential to the one before or the one after, but as a layer encompassing different expressive levels: it can be gesture, word, and voice all at once. In practice, these elements appear together or in isolation, but each is to be understood as co-present with the others. Compositional research never sets aside the conscious passage from one state of imbalance to another: a condition that allows one to temporarily lose one's vanishing points in order to seek a new and surprising direction.

Memory is the casket in which images can exist: memory as something that has happened, which the mind manipulates and digests in every second of life.

In my most recent years of performance work, the analysis of narrative structures led me to the project Sole e acciaio (Sun and Steel); the interaction between body, space, sound, and video led to the projects Dis_tanz and Bradamante; and memory and image-thought led to the project Nodi (Knots).

My experiences in performance and composition have allowed me to develop a pedagogical research path primarily focused on the body as a maker of meaning.

In 2026, I have begun a new research project, What is Mathematics?, which stems from the great question about the origins of mathematics, and through which I aim to work on the expressive poetics of mathematics.

SPETTACOLO "CATTIVE FIGURE"/COMPAGNIA IMMOBILE PAZIENTE/TEATRO VASCELLO 2008