The ‘Gestureplace’ is a combination of things. It contains all the elements-works that determine the space for painting and all the tools-works that help to shape the act of painting day after day.
The parts it is composed of include: the ‘Diarytheque’, the ‘Infinite Painting’, the ‘Sedimentary’, the ‘Platform’, the ‘Table Imprint’, the ‘Diary Imprint’, the ‘Painting Imprint’, the ‘Bowl’, the ‘Cushion’, the ‘Gemmation Base’, and the ‘Dad’s Diary Home’.
Some of these elements are permanent while others are temporary in the sense that in some cases they only live in this space for a period of time and then they leave. Each component is autonomous, but at the same time a factor of a unit as a whole. It is as though lots of small autonomous forms, each with its own logic, were connected to each other, interacting between themselves and participating in a system that is organised time after time depending on the different movements.
As I mentioned earlier, if the work in general is a process that is modified ad infinitum, the ‘Gestureplace’, with all its components, also cannot do anything other than facilitate this nature, each time moving and adapting out of necessity.
It’s hard to put a date on the start of the ‘Gestureplace’ because it was probably already implicit in the physical space and in my head for a number of years, but the moment I became aware of it and understood its logic dates back more or less to when the ‘Sedimentary’ entered my world and helped to delimit the dimension of the space devoted to painting more precisely. In 2017, as soon as the ‘Sedimentary’ moved closer to that part of the studio and the dimensions of the space-painting appeared more clearly, the ‘Floor-Platform’ was made more concrete and with it the denomination of the ‘Gestureplace’. In that precise moment, one by one, all the various parts that had already been in existence for a few years were attracted around the nucleus, becoming something different in their totality.

In 2019 the extreme acqua alta flooding in Venice that entered my studio finally led me to raise the ‘Imprint’ made of elastic cement, definitively turning it into a platform, a theatrical stage destined for a private gesture with no audience. The height and the shape I had it remade in is exactly the same as the walkways used around the city when there is acqua alta flooding.
 
On the definition, genealogy and dating of the ‘Platform’, the ‘Diaries Imprint, the ‘Table Imprint’, the ‘Bowl Imprint’, the ‘Headrest’, the ‘Bowl, the ‘Gemmation Base’ and the ‘Dad’s Diary Home’, I would refer to the files found in the ‘Archive-works’, whereas for the ‘Diarytheque’, the ‘Infinite Painting’ and the ‘Sedimentary’, you can find a detailed description in the previous three chapters.
 
(Written in 2021. Modified in 2024)