I decided to include the file as a work in the archive because I think it’s an element of my microcosm that manages to sum up the attitude I have about how I work and how I feel in the world.
 
To construct it, I started from me, from my dimensions, from my posture, in an attempt to reach a definition of myself, always keeping things open and interconnected without closed and unequivocal definitions, always keeping open the possibility of being transformed.
I started developing the file on my own in 2010. It underwent numerous changes over the years and a substantial change in 2024 with the help of my archivist Barbara Garatti. She listened carefully and studied the archive in depth. Thanks to her sensitivity, she helped me to focus on further issues.
 
In 2023, alongside Barbara, I started to relate the work I had done up to that point – which had developed empirically within a system dictated by internal needs – with the external codified system, in relation to the ministerial file. We wanted to define a system without conforming it or homologising it. If anything, we were trying to find some points of contact with the aim of defining something that sprang from an internal logic, but which also found a way to dialogue with the shared external world.
 
As well as containing the usual fields that you find in almost all artist archives, we wanted to add others to highlight some concepts that define my poetics. I am not going to describe the points consolidated by the archiving system here but instead will focus on the more significant themes.
 
TITLE
For years my works have all been ‘Untitled’. I started naming all of them around the time that I started working on the archive in 2010. Since then, the titles have been attributed before a work has been catalogued in the archive.
They are often terms that objectively define what a work is, on other occasions they are determined by the name of the series with a number alongside them to keep the consequentiality of things open, at other times they are evocative titles. However, in some cases the title escapes any pre-established vision and a word is chosen, almost out of the blue…
 
ARCHIVE NUMBER
The archive number, defined by Year_Type_Series_Series Number, is the genetic baggage from which to start, an incontrovertible fact, as if it were the DNA of the work. It is the signature that permits its identification and allows it to be traced in the archive unequivocally. There is only one of each exclusive archive number.  Should another identical number appear, it would mean that a copy of the work, a fake, had been made.
 
CREATION YEAR, CONCEPTION YEAR, PRODUCTION YEAR
This is where the question regarding the work’s genesis is dealt with.
A reflection on the dating of the works is made, thinking about the moment in which it started to exist, when it was conceived and when it was defined. There are things that need a long gestation period before they exist in reality, others that remain in an embryonic state or even only in the imagination, and others still that start to exist even before they have been attributed the work status.
The ‘Creation Year’ is the one we decided to maintain for the archive number and is also the one that defines the work caption.
Creation:
The moment in which the work assumes a form and the language and the medium to utilise are chosen.
Conception: 
The moment in which the work is formed as an idea. It can be either the moment in which I start to think of it, but before it has found a satisfactory form, or the moment in which I look back and reconsider something done in the past as a work. I then effectively attribute it with the status of work, including it in the archive.
Production:
When it happens in a different moment to the previous two phases, for example complex installations or projects that require a reactivation or a particular production.
 
WORK STATUS
This field was devised to emphasise the temporality of the work and to say that things are in constant transformation.
The idea of this space is to think about the concept of time, physicality, imagination and the possibility that each work has of existing and possibly also of disappearing, which is intrinsic in every work. The aim here is to attribute each work with its exact condition in a precise moment. This Status is always potentially modifiable precisely because the conceptual and material nature of the work is in perennial transformation.
The aim is to give importance to all those works that in physical reality have never existed, or existed once and no longer do, or even those which still exist but have been transformed. I want to consider the possibility that the works can still exist, possibly in a different way. I also want to think about the fact that they can always be in the process of coming into being and are potentially regenerated, cancelled, replicated or interrupted.
For me, each work is in a certain sense suspended, it is not finite, because I know that as long as I am alive everything can potentially be reconceived, taken up again and retouched. In the same way, the documentation and the story in my archive can also be in perennial change and open for discussion. The archive is the place where every transformation is recorded and where the fact that each work, even if it has only been imagined, is made explicit and is a given fact that persists despite everything that can happen to it. It is the space where the thing to continue to exist, despite whether it has disappeared or has never appeared, because everything is nevertheless an essential trace of the act of the thought process.
 
Glossary
Created:
Existing, created works.
Not created:
Works which have never been created. Aborted, failed projects that were impossible to exist. The reasons why they were not created can vary: financial reasons, something went wrong, someone or something hindered its realisation, I gave up with them, they lost their reason for existing, etc.
To be created: Works which have already been thought of, conceived, but which have yet to be produced.
Replicated:
Existing works, remade in the same identical way. Replicated works, reproposed, brought back to life in an identical manner.
Regenerated:
Works conceived and made in the past, reactivated, reprised and reinterpreted in the present, changing something, carried out in two different times, retouched, re-elaborated. They are thus modified works and brought back to a new life in a different way.
In progress:
Works in progress, started and not yet finished, which have within them the sense of transformation over time. Even when I am no longer here and they will therefore be left unfinished, I would still give them this same definition because for me it is important to leave the sense of openness and not of conclusion.
Suspended:
Works which for some reason have been left suspended and unfinished.
Replicable:
Works that when they were created had the possibility of being repeated in their essence, possibly even with different parts.
Altered:
These are works whose original form has changed without the artist wanting them to. Works which have been transformed by external agents such as, for example, someone else’s intervention, an involuntary accident, a natural accident.
 
COLOUR
The possibility of attributing colours to the painted works has highlighted some questions inherent to my way of perceiving painting and the construction of my palette. The latter does not exclude anything: every colour is accepted and catalogued. There are no mistakes and no waste. Each thing has the dignity of existing. I am a polychrome artist, not a monochrome one.
 
Partial glossary
Graphite:
The colour-non colour that draws, that contains the coloured mass.
Lagoon:
The colour of water. The relationship with my city.
Sludge:
The bottom of my paintbrush holder like the canal beds of the lagoon. The substance that is formed through the daily remnant of the painterly gesture.
Mixing:
Colours that spring from the amalgamation of various colours without ever definitively blending into one.
Multicolours:
Works which contain many colours.
Skin:
A colour that speaks of the human body’s physicality.
Primary and secondary:
The first paintings sprang from the abstract synthesis of the theory of colours.
Red-red:
Red is the colour I identified and painted with for years. Now it leads the bowl to a rituality, a cyclicity, to continuous returns.
Canvas:
The pristine fabric, the support of the painting just as it is, without the painterly gesture.
Earth:
Colour of the soil of the world.
 
FEMALE ARTIST
Female artist, not just artist.
Just as I wanted to use the expression maternity of the work instead of paternity of the work in the certificate field, here I want to highlight the fact that the artist is a woman, that it starts from a gender difference.
 
OTHER ENTITIES
We are individuals freed from the context; we are individuals separated from one another. The work is the expression of an individual who interacts with others, with the world and with history. The archive therefore represents a multiple subjectivity in a certain sense, which starts from mere creatorship to arrive, in some cases, at co-creatorship.
I have tried to make the names and roles of other people emerge in this field. These are people who have contributed to the formations of some parts of this world. Allowing others to interact with one’s material cannot be a method that is applicable to any circumstance: it is necessary that a certain complicity, rather than a form of imposition or prevarication, is established. Deciding to let someone else enter one’s work is the result of a relationship of trust and esteem.
Because I have stated that my archive is a work, I would like to go as far as to say, somewhat paradoxically, that whoever handles, interprets, curates or possesses one of my works, from curators to theorists, from other artists to owners, in a certain way becomes a co-creator. Whoever interacts defines a vision, takes care of a work, or rather a piece of this organism, in a certain way becomes jointly responsible for an intention, a project, contributing to a vision, to making progress, exist and regenerate.
Everything that cannot be defined within the ‘Other Entities’ field is nevertheless acknowledged and talked about in the private notes field.
 
There is a theme which is not specifically defined in each individual file, but it is implied. It is as though each person who manages and takes care of one of the artist’s works is jointly responsible for the archive. I also consider the collectors who adhere to and support my system and my vision to engage in a form of co-participation or better co-responsibility. 
 
Glossary
Co-creation
Work conceived and made with another person or another artist
Collaboration
Cases in which people have participated in a powerful way but without being actual co-creators
Participation
Cases in which others participated in the work
Co-participation
Archive members
Co-responsibility
Anyone participating in the totality of the archive project
Appropriation
Cases in which the work has been taken up and remade by someone else
Execution
Artisans, photographers, graphic designers…
Participation with
There are cases in which I enter the work of other artists with one of my works but without considering myself the creator
Incorporation
When I am the one to appropriate the work of someone else. The difference is when the artist is living or dead
 
DIMENSIONS
When searching using the drop-down menu, we wanted to make clear all the precise dimensions of the works, above all to offer the possibility of searching for the ‘Sedimentations’ through the four dimensions that define them: 18 x 16 cm, 60 x 50 cm, 110 x 90 cm, 180 x 160 cm. These four formats demonstrate that the measurement of the painting is determined by the measurement of the body: hand, portrait, half-bust, whole body and which project into the space a certain vision of the painting: the fragment, the painting that can be held in one0s hand, the portrait or self-portrait and the presence of the entire body.
 
TYPES AND MULTIPLE SERIES
Each work is defined in the archive through a type and a prevalent series that defines the archive number. However, some works require a multiple identity. It is impossible to pigeonhole or force the definition of a personality unequivocally. It is important to allow things to be without forcing them into a strict clarification.
There is therefore the possibility of attributing multiple series and multiple types to the works.
 
CORRELATIONS
As I have said, the archive is the place where everything is recompacted, where every single element becomes part of a whole, interconnecting with everything. This is true on a theoretical level. However, in reality a system of correlations between the works was constructed that more than complicating and confusing things, help to describe a complexity.
Below are the three levels of conjunction.
Correlated works:
These are works that as well as having an independent work status come together with others to form a compact whole. All the works are included in the file
Generates the following works:
The work in question generates other works that are thus included in the file
Generated by the following works:
The work in question was generated by another work which is included in the file. 
 
CONCEPTUAL CONNECTIONS
This field, which in the early days was only private, defines the words that help me to reflect on the works, connecting them to each other. Sometimes, some of these definitions have disappeared because they went on to directly form one of the chapters in ‘Self-Portrait’ or a new series. They are words that scroll alongside the work. Associations and affinities with what I feel. Synapses, connections, links, threads, crossroads of meanings, definitions to construct new narrations and create new reasonings.
 
 
(Written in 2024)