half greek half italian
Craft as design. Hybrid technologies. Queering up design.I never thought I would be involved in weaving activities, even less in knitting. But there is something about the physicality and the material that always makes me want to touch things and build impossible structures. That comes in an interesting conflict with the high interest I have in conceptual design and the world of ideas. Design fiction, design as narration, design as plain text, design installations and lately, design as performance. This third year signed the passage to a deeper understanding of what design can be for me; and what I can be for design.What about technology?I am not a digital fan. I am not afraid of it either. I only use technologies as a means to experiment with concepts that at first glance seem disconnected. The challenge is to find and explore possible connections.Those connections are usually given within the words/concepts themselves. In a closer look, there is a thread that links all of my works, in not necessarily a progressive line. Weaving code, performing time, arranging silence, design for all the projects I never did and for a society that moves beyond gender..what if, and why not.In that, Social and political cannot be excluded in the description of most of my works. Everything has a wider political presence and influence.I believe that our role as designers is to apply design thinking in every possible aspect of human -and non human- activity, but mostly, provide a so called creative exit (as Gregory Bateson would say) of which the world today is in desperate need.
with a Cultural Anthropology background and Photography studies, a graphic designer that tries to move away and back to design.
The Molecular Project