Laplace's Demon

It must be a reaction to the relativism of our times, having already learned and accepted that change is the only certainty, for why the subjects of my works converge towards the fundamental laws of nature. In the process, the Time itself, this universal binder said to be ticking in the substrate of reality, became an essential substance in my artistic toolbox. It connects epochs and it bridges matters. As for me, it brings medieval artistry into contemporaneity. The allegorical sculpture in glass and metal, which I propose to contemporary architecture and interiors, evolved from the experience of stained glass art that I have been practicing since the mid-90s. The flexibility of the Tiffany method, combined with a strongly consolidated structure, allows me to achieve the widest panels with the most sophisticated contours, without unsightly structural fragmentation.