Ispica, 1964. lives in Florence. After technical studies, he moved to Venice and attended the Academy of Fine Arts in the classroom of Emilio Vedova. He graduated in 1989 and moved to Turin in 1991 where he met the poor art artists and began creating installation works. It begins with the exhibition of white works, monumental sculptures bordering on minimalism, and olfactory. It uses soap petals which it deposits on drawers that destabilize recognizable elements of common use such as sofas, altars, doors, walls, etc. It also exhibits letters and projects similar to large postcards on transparent scrolls. In 1992 he begins to reflect on the possibilities of painting, around his medium, and realizes the proof of a first painting that he defines as “photocopy”: the faithful copy of a photocopy, made with black and white water colors, which reproduces Marcel’s bottle rack Duchamp. In 2003, after a short trip back to Sicily, he defined himself pirandellianly “painter”, and from that moment he deepened the tormented relationship with this medium that led him today to define himself as an “engineer” placing the emphasis not so much on simple representation as on building an image. Between 2003 and 2011 he exhibited in numerous personal and collective exhibitions in Italy and abroad and made some grotesque videos, real reflections on the commonplaces of the artists, and on the marginal relationships between art and territory. In 2007 he won the Agenore Fabbri Prize and moved to Florence. In 2010 he began to write some allegories entitled “The fatal stories” which explain the construction work – a process that from that moment completely absorbs it – with drawing (the dust), with painting, with writing, with video, and performance. The request for personal and collective in the period 1981-2015 only came from at least 100 galleries.