Travertine doodle

The "Doodles" series is conceived as an investigation into the threshold of perception, an invitation to rediscover sculpture not as a static volume, but as a phenomenological device. The artist chooses to subtract unambiguous meaning to reawaken in the viewer that quintessential "magical vision" of childhood: that oracular moment in which the gaze did not simply catalog the world, but invented it.

The heart 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 observer's projection, so the sculptural material of Doodles loses its density to become fluid, changeable, and vague. The artist does not impose a visual dogma, but traces a sinuous path—a three-dimensional "scribble"—that serves as a pure imaginative pretext.

In this dynamic, the artwork is created in the invisible space between form and eye. Through the mechanism of pareidolia, the viewer is invited 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 familiar forms, a conscious play in which the work is never identical, but changes according to the sensibility of the viewer.

Philosophically, the series celebrates freedom of interpretation as the supreme act of co-creation. The artist voluntarily abdicates the authority of the "subject" to return the power of play to the viewer, transforming stone or bronze into a realm 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, finally, all we wish to see in it.