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Here is the Wasetti project, and here is the first blog post.

4 years ago, when I started working with clay, I certainly had no idea how it would evolve and structure itself to become my main activity, I say "main" because it is not the only one, I continued to do my traditional job as a graphic and web designer, not only because I still like it very much, but also to keep up to date with contemporary aesthetics, the languages ​​of communication and visual design.

I started working with clay in 2016 when I decided to do an exhibition for the Modena Philosophy Festival. Usually I exhibited illustrations and paintings but that time I needed a three-dimensionality of elements in space. It was about expressing the concept of extinction and doing it on a chessboard whose rules were equivalent to those of Darwin in his theory on the evolution (or extinction) of the species.

The exhibition went very well, also from a commercial point of view, especially because I realized that I had found a perfect means of expression for what had always been my artistic-emotional projects that until then I had expressed only through signs.

In 2017, almost without realizing it or having decided to do so, all my free time was taken up by working on ceramics, which I studied, experimented and on which I carried out extensive research; in that year I also began my exhibition activity which led me to exhibit in Italy (Turin, Bologna, Biella, Grottaglie, Modena, etc...) and abroad (London, Seoul).

But beyond the sculptures, large and “heavy”, I had another world to express, more numerous, more delicate, made up of a multitude of little animals, often not real, and of other beings who experienced feelings, of shyness, insecurity, fears of abandonment, serenity, all emotions to which it is difficult to give a name, one would have to invent one for each feeling...

I started Wasetti to give full voice to that submerged world, to that emotional and visual imagery that I have always had inside me and that now had found the right medium to manifest itself, which could be more accessible than the expensive sculptures that I made for galleries and easily transportable and shippable.

The thing that all my ceramics have in common is that they are all, both those for the home and the little animals or organs, rigorously handmade, one by one without the use of molds or casts, the “handmade” factor is fundamental as it guarantees a real uniqueness to each piece.

To create my objects I do not use a rigid standard regarding size and weight, but a 10% oscillation to give greater individuality to each object, individuality that is well noticed when the pieces are together, there is a vibration that flows between their differences; hence the choice not to clone the objects but to let each one retain its own natural identity.