At the Academy of Fine Arts in Venice I attended anatomy lessons and I was offered reference models belonging to the figurative tradition. Complex models full of golden rules, relationships between the parts and general harmonies.
I drew; I tried to stick to the didactic instructions but the idea that those models had little to do with reality persisted in me. The bodies I knew, saw and touched often turned out to be asymmetrical, perhaps slightly, imperfect and not at all sculptural.
Asymmetries and exceptions to the norm have always attracted me and so I decided that I could no longer design a perfectly aseptic world, too perfect and therefore inhuman.
It was then that my models and my studies became interested in hip dislocation. A simple and obedient way to ignore the instructions in the classic didactic practice. It was then that I told the world that the perfect body does not exist.