…in order to correctly perceive and understand “The Ambassadors” by Holbein the Younger, the spectator has to move physically to the side of the picture’s surface.
So, while the ambassadors and the skull both lie in the same spatial dimension, the figure of the skull can only be perceived correctly from a place an infinity away from the picture surface. Thus Holbein builds a system that expresses a different relationship between space and time.

Questo lavoro s’intitola “Achille e la tartaruga” e io sono Achille (This Work is Called “Achille and the Tortoise” and I am Achille) comprises three text-scores which describe in diary form the construction of two handmade loudspeakers on tripods.

The scores transform the actions into frequencies and then into musical notes or colours: a shift which expands my point of view. I think of myself as an agent occupying and observing from a different level, in exactly the same way as when I move to the side to see the skull in Holbein’s Ambassadors.

A black-and-white photo, taken inside a Renault 4, captures a moving vehicle on a country lane. The Renault 4 belonged to my father when I was a teenager. The car in the photograph, on the other hand, belonged to Dr Isak Borg, who in that moment was going to the strawberry patch where he had lived with his siblings and cousins for part of his youth.

The dust sweeps up traces of times past, witness to all of my and my family’s actions that have to do with the piece of furniture.

Così fu quella volta che quasi incontrammo il dottor Isak Borg (This Is What Happened the Time We Almost Met Dr Isak Borg) develops from the idea that there is a correlation among all existing things as if they were part of a single storyline. It leads us to realize an impossible fact: of having lived a piece of the story of Dr Isak Borg.