children's point of view suddenly reach an unexpected agreement. Your practice is intrinsically connected to the chance of creating an area of deep, almost physical interplay with the viewers, that are urged to evolve from the condition of a merely passive audience and I definetely love the way Ocean and Cocoon takes such an intense participatory line not only on the way we enjoy Art, but also and especially on the conception of art itself. In particular, your investigation about the intimate aspect of constructed realities has reminded me of Thomas Demand's works: while conceiving Art could be considered a purely abstract activity, there is always a way of giving it a permanence that goes beyond the intrinsic ephemeral nature of the concepts you capture. So I would take this occasion to ask you if in your opinion personal experience is an absolutely indespensable part of a creative process... Do you think that a creative process could be disconnected from direct experience?
The creative process, if it is genuine, is always based on the latest update of the personal experience. It is bound to be so. It is a visual form of personal diaries. And there is another important point, such as responsibility for the words we say. Art is an area of freedom, but freedom is good when it is responsible and conscientious. And I strongly believe that it is destructive to visualize your inner problems. This way an artist multiplies, documents and immortalizes them. A piece of visual art can outlive its author and continue to convey the thoughts and emotions put into it. If this message is destructive, it can make a lot of harm to people. That's why I develop a concept of sound art. But to create sound art you must be sound yourself. And it seems to be the most difficult but the most useful task.