Travertine Doodle

The “Doodles” series is conceived as an inquiry into the threshold of perception, an invitation to rediscover sculpture not as a static volume, but as a phenomenological device. The artist chooses to operate a subtraction of univocal meaning to reactivate within the viewer that "magical vision" quintessential to childhood: that oracular moment when the gaze did not merely catalog the world, but invented it.
The core of the entire series lies in the metaphor of the sky. Just as clouds—transitory entities par excellence—possess no objective identity except through the projection of the observer, so the sculptural matter of the Doodles sheds its density to become fluid, mutable, and vague. The artist does not impose a visual dogma but instead traces a sinuous path—a three-dimensional "scribble"—that serves as a pure imaginative pretext.
In this dynamic, the work of art is fulfilled in the invisible space between form and eye. Through the mechanism of pareidolia, the viewer is called to complete the creative act, projecting their own memories and mental associations onto the curves of the material. Each sculpture thus becomes an echo of known forms, a conscious game where the work is never identical to itself, but changes according to the sensitivity of those who question it.
Philosophically, the series celebrates the freedom of interpretation as the supreme act of co-creation. The artist voluntarily abdicates the authority of the "subject" to restore the power of play to the viewer, transforming stone or bronze into a territory of pure potentiality. The Doodles are not objects to be observed, but experiences to be finalized: a return to the origins of the gaze where form is, at last, everything we desire to see in it.