The idea for the “Fantastic Bestiary” was born by chance. I was working on a papercutting project, when I took a selfie with the empty silhouette of an animal and it was like a vision, a real epiphany. The case had produced an image in the image and so, depending on where I focused my gaze, I could see a face or an animal, something like ‘the principle of the Rubin vessel.
The next step was to find a “common thread” to baste the project – and the animals have always represented a creative space and meaning, between zoomorphism and anthropomorphism – but it was above all a matter of “leading the case”, because in the “Fantastic Bestiary “the difference between a successful and an improbable picture is often a matter of a millimeter, a slight movement, a moment to seize.
The excitement that causes me working on the “Fantastic Bestiary” is all about this: when I can seize that unique moment where shape and face intersect, merge, it seems like I have caused a spell. And I think it’s just this magic that strikes those who look at the pictures: the perfect match between a tuft of hair and the tail of a wolf, the curve of a nose and the chin of a lion, and often the connection between the subject on the portrait and the ” soul “of the animal chosen for it.