I have always thought that, even if the divine has no image, it may still have a place: a space capable of giving it a material presence. A place that, with the same abyssal depth as the highest heavens and the depths of the earth, could at once conceal it and reveal it.
With this conviction, I transformed the underground space of an old woodshed in a small mountain village into the place chosen for Ecce Grotta, a site-specific work. Through a painting created with pigmented mortars, I transformed the space in its entirety, where the pale tones of yellow earth pigments and whites drip from surfaces of ultramarine and cyan, settling into forms that possess the spontaneity of coralline algae and the patience of stalactites.
I like to think of Ecce Grotta as a permanent scenography in which the divine may become visible and the miraculous possible.
