About me
My first real video-art works date back to 1990 where, using digital cameras video8, digital8, vhs and super-8 and super-16 film formats, I discovered the power to create a parallel reality through linear editing using video recorders , rudimentary in / out cameras and splicing cutters for films. At the time I loved developing video art films in a totally personal way. I used the acids spraying them and dilating or shortening the immersion times. I remember that one of my shots in super-8 decided to develop it by treating the film like a plate of spaghetti, seasoning it all with developmental acids. The result was disastrous and I found myself having to throw away all the sweaty shot. In the mid-90s I started a more orderly phase building the scenes in a more studied way to get images as close as possible to the ones I had planned. In the same period I started organizing my first performances in venues of various cities: in experimental spaces or art galleries. At the time, the intention was to project my work during the performance of actors I directed, in some cases disguised as reception staff.

In the late 90s I started producing my first fiction short films. I remember that period of great enthusiasm with a certain nostalgia. At the time I had settled in Campo dè Fiori where I lived for over 20 years. In 2003, a script of mine received funding from the Ministry of Cultural Heritage. What seemed like a great opportunity soon turned into an uphill journey. Shortly after obtaining the approval of the cinema commission for the disbursement of the financing of my project and that of several other directors, including Mario Monicelli, there were retroactive cuts with the consequent cancellation of the disbursement by the FUS to the financing won by public tender. That nightmare lived with anger and combativeness soon turned into one of those wonderful experiences that I later only got to better appreciate: the Cinema Protest of 2004. At the beginning we were four cats: the group 16/12, then later, also thanks to the ANAC (National Association of Film Authors), who joined with conviction, turned into the glorious Protest that many remember. It was really a great experience to fight alongside some of the greatest authors of Italian cinema. The protest signs were reported in most newspapers and often on television, in fiev programs or newscasts of various kinds. With the Permanent Movement of Italian Cinema, we also produced a film protest which was shown at the collateral section called "Giornate degli autori" of the Venice Film Festival in the 2005 edition. In 2006 alone, the TAR upheld our requests and the FUS was forced to provide the funding. Shooting the film was almost irrelevant, apart from having mostly shot it in the Cinecittà studios, probably because, by now exhausted, I no longer had the energy and the initial enthusiasm. Later I started my career as a documentary maker, signing with various pseudonyms, because I thought I didn't want to affirm myself in that sector as I wanted to continue my film career.

During this time I made several products in various qualifications as director, author, producer and editor, collaborating with Rai news 24, the Bibliothèque Nationale de France, the Istituto Luce, for Marco Dolcetta, Raitre, Rai Movie, Artè France, TF1 France , the Venice Biennale and Fiamm energy. Meanwhile I collaborated with some journalists in qualifying as a ghost writer. Later, to make up for the lack of work, due to the decrease at the national level of film productions and auteur documentaries, I also specialized in the qualification of personal brand, where I worked for different companies with the intention of increasing their visibility.

I firmly believe that every artist has the opportunity to express himself at great levels and in an original way for the maximum duration of 10 years of activity, after which, if his career was lucky enough to continue, he will only repeat his creations. By virtue of this principle I believe I still have much to give.

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The super8 was one of my biggest loves, I kept using it until 2001, then the film became too complicated and expensive to find.
Video Dance was one of my great passions. Combining video art with dance was the way I expressed myself best.