Context

The present era unfolds within a regime of objectual hypertrophy. The relentless sedimentation of industrial goods has saturated the domestic environment, transforming the design discipline from a cultural agent into a subservient lubricant for consumer desires. In this condition of horror pleni—the panic of filled space—the object has been stripped of its metaphysical weight, reduced to a neuro-stimulus for the accelerated economy of attention. Semantic entropy pervades as signification collapses into the instantaneous, the reproducible, the disposable. Within this pathological order, the design episteme has abdicated to consumption. The notion of "Made in Italy”, once the battleground of the Radical avant-gardes, has fossilised into a nostalgic apparatus, celebrating heritage while betraying its disruptive vocation. The practice emerges from this fracture as ontological withdrawal: a refusal to participate in the proliferation of redundant forms.

The foundational gesture is apophatic, an articulation of identity through negation, where renunciation operates as an active instrument. The theoretical framework rests on rigorous inversion of the modernist canon: form follows meaning. Generative deprivation supplants the minimalism that has itself calcified into mere stylistic mannerism. The methodology strips the archetype of its ergonomic complacency to expose the conceptual substrate beneath. The primacy of the Void is asserted not as emptiness but as solid silence, structuring space more definitively than matter. Under this premise, the object ceases to function as a tool and becomes a hermeneutic device, a physical proposition designed to interrogate the rituals of dwelling and the fragility of perception.

The operational logic is deliberately anti-industrial, proceeding as an archaeology of the present, rejecting the sequential imperatives of manufacturing. Each work originates from a collision between sustained theoretical enquiry and the tacit knowledge of master artisans. Devoid of retrospection, the engagement is dialectical: philosophical intent is tested against the resistance of raw material. The corpus is circumscribed to unique pieces and numbered editions. Provenance documentation operates as archival trace, anchoring each artefact within a genealogy of critical practice independent of market legitimation. Circulation remains rarefied, reconfiguring acquisition from a transaction into a pact of stewardship: the collector assumes custodianship of meaning.