Why did you decide to investigate the modalities of expression and emanation of the interiority of each individual starting from the image of the body?

I did not take into consideration the image of the body, but I felt the need to tell the impressions that people arouse in me. To do this, I must mention the aura, which it transmits - referring to perfection - without imposing aesthetic judgments. The research started with Carla, one of the performers. We discussed personality and the possible perception of it, regardless of aesthetic indicators or accessories that can place it in a category. A naked person cannot lie about his being. The perception of the aura is singular, therefore the judgment is subjective, but being the soul of a person, I think that there are some things in common between one perception and the other and everyone can interpret them. Here, the research started from something that works like the so-called "skin".

Triptych: is this work born with the performance, or is it a previous work? What do you want to convey?

The triptych, the first step of the exhibition, is part of an unprecedented series, the works do not have a stylistic coherence and the choice was dictated precisely by the aura, which emanated different sensations at each moment. Different styles lead to give a different aura to each work and that of the triptych invites introspection. It depicts a little bird that makes itself a screen with its wing, which matches the eye of the main face that vomits the perfect personification of the will of others. The numbers of perfection are shown crossed out with Xs, which in turn represent perfection in imperfection. Then we find a tuft of hair, the painful process that eradicates what hurts the most and is ridiculed. A reference to pop art, a bit trivial, stylized elements with a strong concept at the base, linked to the drama.

In the work you are observer and observed, how did you experience this condition?

Although I was on the side of the audience, I felt completely isolated and in a trance, like the performers. I did not perceive any kind of emotion, as overwhelmed by apathy and alienation. I was the tenth external element, of which to discover and analyze art and poetics. All this thanks to the connection that was created between the aura of the performers. The concept is really profound and linked me to the idea of ​​cohesion as a group and to that atrocious pain, linked to an extreme psychophysical condition, barely experienced, but enough to understand what the limits of the body were. I suffered the wait with the boys. I am happy to have remained externally internal , because someone was needed to act as an intermediary, a bridge between the audience and the performers. This role has terrified and alienated me and I feel that the state of apathy, despite the fact that a few days have passed, continues to live.

You have chosen to use the mirror to lead the viewer to observe themselves during the performance. This with the intention of creating what reaction in the user of the work?

The mirror, the last step of the work, was not born to be observed during the performance. From the triptych, to the performers, passing through the sketches, we stop at the mirrors. As a last step, after trying to analyze the auras of others, he must try to analyze the personal aura. The first mirror entitled "The aura of a Psychotic" only half covered, vertically by a canvas, indicates two aesthetics, giving and receiving, two souls, one distorted and less taken into consideration because it is far from the concept of celestiality. Even though the message of wearing the auras was clear, people fearfully approached the mirrors. In the second, "Face of Aura" I tried to give a face to the aura, even if it is an invisible concept. This was the purpose - to replace one's face with that of the aura -.

Speaking of aura, you can find many facets of the person, some obvious and others less so. Does your work take psychoanalytic studies into consideration with respect to the unconscious and its variations?

My investigation takes exactly the emanation of being into analysis. There are a thousand facets of the aura, not being the best or worst part, nor a single concept or word. It is the set of qualities that make up the soul, which form the personality that emanates and is subjective as each person grasps its facets in a different way. The details are those, which together give life to the aura, there is no right and wrong facet. Thanks to the awareness of a performer who allows himself to be analyzed, it is possible to understand if this aura coincides with reality. Being able to write something about an immobile person , who you do not know, means that there is something that is emanating , so it is difficult to be wrong.

Is there any artist who has particularly influenced you with respect to the use of the staging of the body in the performance?

I have not had artists to draw inspiration from. The performance is the result of a research work, according to my aesthetic, born from an impulse. We know that this concept is very close to the dreamlike and spiritual vision of Marina Abramović or Gina Pane but it is not a type of analysis comparable to big names that are widely used and raped. The performance is not comparable because it is not painful and does not stop at the artist. One could think of a makeover to Pistoletto, but the techniques are different. I speak of a multi-material mirror, a completion of the same. Pistoletto grants entry into an image that he has already given, the viewer is one more element. To exist in my mirror, the user must lend you half. Specifically, there are many artists that I am attached to, but none have been taken as a reference. Without being arrogant or presumptuous, it was a sincere and spontaneous evaluation. Not using the nude was also a choice faithful to my concept.