In 95 in Naples it was a time in which people started doing public art and forming a dialogue with the institutions. I, in particular, was trying to propose the idea of art tied to design, which I thought could be interezting. At the time there were still many companies, like the mosaic company, Bisazza in Vicenza. I had recently opened my small gallery, I proposed an exhibition with Alessandro Mendini to the Scuderie of the Palazzo Reale Stables but sponsored entirely by Bisazza. So we held this exhibition called Artinmosaico in which many great artists along with great designers created the landscapes of a city of the future. There was investment in research and there were still industries that may have been interested in this. These possibilities seem to have completely disappeared nowadays. I experienced in my gallery a series of events tied to different languages, such as ceramics, a craft from our area, working with Vietri among others. Important experiences that were looking to dialogue with the institutions. Again with Mendini I participated in the great project Stazioni dell’Arte in Naples. It was a great experience in that initial phase of the project in the metro.
Coming to the point, after this series of experiences, in 2009 I opened this space, La Fabbrica delle Arti. In this ex-shirt factory I wanted to create a place where resident artists could have the possibility of meeting manufacturers. Creating works that were neither pure design nor pure artistic products, not having been constructed by the artist in his studio, but rather as the fruit of this encounter. This was my quest. My failure was in not being able to find a market for all this. Because there was a great deal put into it by me, by the artists and by the manufacturers, but there was no response because the righ market was not the local one, but rather the international one. This is what I put to you: to find a way to produce and to gain a clientele. These artisans that I called signed the works with the artists, the experiment was that of bringing out the culture of MAKING. The culture of the materials would need to be valued and protected. The institutions could lend a hand through the chambers of commerce. Through La Fabbrica delle Arti I met some members of Slow Food, and I think that if we too in the field of art do as they did and create a sort of associationism, a network, and find important places in which to show our projects and studies internationally, we could make a mark. This is what the new markets are looking for.

Yes, it was above all a space dedicated to youth. The rather important idea was to create a space for experimentation, which I did with artists and artisans. Prototypes for this space were created. In my opinion, it was important to bring both out of their established space. Creating an alternative space creates a different flux. Everyone, inside their own space, is engrossed by the preoccupations of everyday life.
This is the case for the artist as it is for the artisan, for the manufacturer, for the small business. Taking them out of context means committing them to a different way of thinking. But it is also necessary to take these works to a vaster public. What we wanted to do was create something more accessible for a nurtured market, not for true collectors, but for art lovers, to allow them to enjoy the beauty of art. Through public art we can all enjoy it, but in private art there are few who can afford to. A new solution must be found.

I don’t don’t think of failure but some changes are necessary. It is in getting together with others, in the plurality of professions, that new ideas come out. The network, in this sense too, is precious.