Reenactment (Palazzo Ducale, Urbino, 18 August 1666)

Graffito scratched on wall, variable dimensions, 2022.

“È un paese da cùcù/ove il vento ogn’hora stà /sopportar nol posso più/perderei la sanità/anno Dni 1666 die 18 Aug.”

“It is a cuckoo land/Every hour blown by wind/No more can I with- stand/I will surely lose my mind/Year of our Lord 1666, Aug. 18”

Telone #11 (Backdrop for an hypothetical silent performance / one act only / no words / no actors / just public)

Oil paint and oil pastels on canvas, 230 x 200 x 2 cms, 2022

Ideal Space for a 3 Act Drama or Comedy (+39 0318360012)

Bronze cast, aluminium cast, graffiti, story. 50 x 55 x 45 cm, 2022

By calling the number scratched on the surface of the sculpture, the viewer can listen to the story of an action potentially happening inside that space.

Telone #9 (Backdrop for an hypothetical silent performance / one act only / no words / no actors / just public)

Oil paint and oil pastels on canvas, 230 x 200 x 2 cms, 2021

Telone #10 (Backdrop for an hypothetical silent performance / one act only / no words / no actors / just public)

Oil paint and oil pastels on canvas. 240 x 200 x 2 cms, 2022

Teatrino (for an action where the stage is as important as the backstage)

Glazed ceramic, concrete, pigment. 46 x 46 x 30 cm, 2022

Ideal Space to Tell Fairy Tales (+33 185149572)

Bronze, zinc, telephone number scratched on the bronze, story, 40×25×20 cm, 2020.

By calling the number scratched on the surface of the sculpture, the viewer can listen to the story of an action potentially happening inside that space.

Ideal Space for a saint or a Translator (+33 185149481)

Bronze, zinc, telephone number scratched on the zinc, story, 42×30×20 cm, 2020.

By calling the number scratched on the surface of the sculpture, the viewer can listen to the story of an action potentially happening inside that space.

Battle (ideal space for)

50 drawings with black marker and oil pastels, 50 stories, 50x70cm, 2020.

Each drawing represents a possible stage to reenact the story of an historical battle. They were produced for the book Battles - Vol. I published by Book Works.

+39 091 842 0027

Tufo stone, telephone number carved into the stone, spoken words, 2019.

By calling the number scratched on the surface of the sculpture, the viewer can listen to the story of an action potentially happening in that space. The work was produced with the support of the residency programme INCUVA, Favignana

An island facing another island (who lands and who doesn’t)

Hand printed fabrics stretched on 5 canvases resembling 5 ship sales’ design, stories, 2019.

Installed in a filed overlooking the Sicilian island of Marettimo, the work gathers 5 different stories of historic and contemporary maritime/land arrivals… or the lack of. Produced with the support of INCUVA, Favignana.

+39 09 18420042

Bronze, cast glass, telephone number scratched on the bronze, spoken words, 2019.

By calling the number scratched on the surface of the sculpture, the viewer can listen to the story of an action potentially happening in that space.

+52 1 55 7668 6595

Bronze, the artist’s personal telephone number scratched on the bronze, spoken words, 2019.

By calling the number scratched on the surface of the sculpture, the viewer can listen to the story of an action potentially happening in that space.

Privilege is a condition that resists 3 generations – Spoken Sculpture #2 (single ACT)

Hand-printed fabric, oil paint, wood, bronze, spoken words, 2018-2019.

This work is part of the series Spoken Sculpture, a group of composite installations for the wall linked to a short script. Striving for an equivalence between objects and spoken words, the sculptures are assembled live as if paragraphs of the very same performed script.

The hypothetical birth of architecture – Spoken Sculpture #8 (a freeze frame)

Canvas, oil paint, acrylic paint, brass, spoken words, 2019.

This work is part of the series Spoken Sculpture, a group of composite installations for the wall linked to a short script. Striving for an equivalence between objects and spoken words, the sculptures are assembled live as if paragraphs of the very same performed script.

The narrator - Spoken Sculpture #3 (3 simultaneous events producing 2 possible stories)

Brass, canvas, wood, acrylic paint, spoken words, 2018-2019.

This work is part of the series Spoken Sculpture, a group of composite installations for the wall linked to a short script. Striving for an equivalence between objects and spoken words, the sculptures are assembled live as if paragraphs of the very same performed script.

Soleb Temple, Sudan, 1851

Reenacted graffiti on avocado tree branch, 2019.

A series of works based on a closest-to-the-original copy of ancient graffitis. The scratches are copied on site specific locations – architectonical features – or materials on which the graffitis have historically been found. In the act of copying, a performative feeling of reenactment rise, as such collapsing the time/space differences between the two gestures, the original and the copy.

Semna Temple, Sudan, 1849

Reenacted graffiti on a wall, 2018-ongoing

A series of works based on a closest-to-the-original copy of ancient graffitis. The scratches are copied on site specific locations – architectonical features – or materials on which the graffitis have historically been found. In the act of copying, a performative feeling of reenactment rise, as such collapsing the time/space differences between the two gestures, the original and the copy.

Quoting – Spoken Sculpture #5 (a monologue)

 Bronze, plaster cast, rubber band, pastel, spoken words, 2018-2019

This work is part of the series Spoken Sculpture, a group of composite installations for the wall linked to a short script. Striving for an equivalence between objects and spoken words, the sculptures are assembled live as if paragraphs of the very same performed script.

Scripting Anticlockwise

22 movable wood frames, hand prints on plastic, digital prints, hand dye fabric, aluminium bar, paper, a performance, 2017

Using the architecture of the space - three original columns + 3 purpose built - Pedraglio creates a moveable installation with 22 frames that, like 22 elements of a storyboard, could be used to tell seemingly endless stories.