Scultura sociale is about six meters long and made up of three hundred and seventy-five stainless steel modules screwed together and resting on a plexiglas plate. It is generated by a spherical element, the only one, which visually simulates a vectorial movement of the same in space.
Solid, heavy and stainless, the work would appear to be unalterable over time. On the contrary, it is destined to progressively disappear and, as in a mandala, as soon as it is finished it ceases to exist in its original form. The modules are subtracted from the sculpture and, upon commission, are applied to the domestic environment and become feet for a table or chair, a coat hanger, a drawer knob and so on.
In the applications Scultura sociale is atomized in multiple environments and disappears from view as a whole, as a form, as a sculpture.
The applications continue until the modules run out and the only element that will not be sold will be the base of the sculpture, the sphere, an unstable solid like the sculpture itself.
Since art has the obligation to question habits, Scultura sociale does not exhaust the action and its location and in fact I reserve the right to modify (for an hour, a day or a month) the environment it hosts the application. By adding module to module, I raise tables and chairs from the ground, I extend knobs and handles making each function anomalous for granted and I invite the collector to dialogue with the restlessness of the work.