近年来，我的艺术探索逐渐转向观念领域，作品本质上已成为一种以感知为核心的综合性重构过程，重新整合了我来自多个学术背景（从应用工业物理到建筑，再到视觉艺术）的教学、文化与智性互动。这种方法旨在确立一个具有主题与观念导向的艺术目标，并展开一种介于具体“贫穷艺术”（poverismo）与数字艺术之间的实验路径。由此产生的创作方式，与其说是再现（representation），不如说更倾向于一种“呈现”（presentation）的逻辑，更为贴近当代艺术中对现实经验与感知结构的思考方式。
In recent years my artistic exploration has been directed towards the conceptual field and has essentially become a work of prevalent perceptive synthesis that re-elaborates all the didactic, cultural and intellectual interactions also coming from my different educational fields (from Applied Industrial Physics, to Architecture, to Visual). Furthermore, this approach, identifying the artistic objective of a thematic-conceptual project and of an experimentation inserted between concrete “poverism” and digital art, reveals itself to be much more related and pertinent to concepts of presentation than of representation.