This paragraph talks about the artist’s book ‘The induced appropriation’, which I made in 2024.

In 2022 Maria Cagnoli, for whom I had made ‘The Conveyor Crack’ in her Venetian home in 2019, asked me to create a book to talk about that experience. Years had passed, so instead of picking up from that same narrative, which I had already recounted in a paragraph in ‘Self-portrait’, I decided to focus on the act that the collector herself had subsequently carried out in her beach house.
Using the remains of the stratification of Plasticene I had produced to fill the crack in the wall of her home, a couple of years later she took the substance, copied my gesture and recreated my work in a different context, carrying out a form of appropriation.
 
What I wanted to do in the book was to make readers see how the conditions can be created for the artistic gesture to be reproduced or reactivated, not experiencing it as a form of prevarication but rather as a way to amplify, broaden and even strengthen the meaning.
The thing I do every day of my existence in my studio-space is to remain focussed and create the context in which things happen almost by themselves, fluidly, without being forced. In this book-space, I have tried to show how important it is that what happens through my persistence should be taken up by others to be completed.
 
Through the publication of our exchange of letters, I think it was possible to show how an artist and a client, whose relationship is one of reciprocal trust, can create the conditions to keep the initial nucleus moving and to transform it. Finally, I tried to continue a phase of the work with Alessandra Donati (lawyer) and Barbara Garatti (archivist), entrusting to them, albeit with numerous limits and contradictions, its interpretation and decoding, seeing as this sequence of actions poses a series of questions that are central to my work, characterised by the theme of the archive, such as sharing, authorship and co-creation.
 
(Written in 2024)