The Story Behind Il Cavallo Verde
Every artist has a place where their work truly begins.
Mine wasn't a spacious studio or a perfectly equipped workshop. It was a small cellar, where I first discovered that clay could become more than a material it could carry memory, emotion and meaning. Those early days were quiet and uncertain, but they taught me the value of patience, persistence and the slow rhythm that ceramics demands.
As my practice developed, I spent years refining both the artistic and technical aspects of my work. Collaborating with professional ceramic kilns in Italy allowed me to deepen my understanding of firing, materials and surface treatments, while remaining faithful to a process that is entirely shaped by hand.
Over time, I realised that my work needed more than space it needed a place that reflected the way I wanted to create. That search eventually brought me to the hills of northern Italy, where I established my studio surrounded by woodland, birdsong and changing seasons. Here, nature is not simply a source of inspiration; it has become part of my daily practice and creative rhythm.
This is where Il Cavallo Verde came to life.
The name represents more than a studio. It reflects an artistic vision rooted in transformation, craftsmanship and the enduring dialogue between humanity and the natural world. Horses, birds and organic forms have gradually become recurring motifs in my sculptures and architectural terracotta reliefs, not as illustrations, but as a personal visual language that continues to evolve with each new body of work.
Every sculpture begins with clay and the touch of my hands. I work without industrial production or repetition, allowing each piece to develop at its own pace. Marks, textures and subtle irregularities are not imperfections to be hidden they are an essential part of the work, preserving the story of its making.
Today, Il Cavallo Verde is both a studio and an ongoing artistic practice. Every sculpture and architectural relief is created with the same intention that guided those first pieces in the cellar: to make work that quietly belongs to its surroundings, inviting contemplation, connection and a lasting dialogue between material, architecture and nature.
