In fact, the underlying principle of the baroque is the idea of transformation, of movement, and animals becoming man, and man becoming animals, and mythology. It was a way to inspire pre-Christian character.

In the traditional Ikebana things always have to be asymmetrical, because in this they look more natural and balanced.

I'm spending a lot of time in the Palazzo and in the museums. I'm printing [pictures that I take] and making a binder with a mix of internet research and palazzo research that I'm planning to use for the upcoming works.

Art has to maintain as large a space for interpretation as possible, and to protect itself from being too narrow.

Ikebana is meant to mimic life in the way it develops; it shouldn't look like it's under the control of man.

I'm working on new techniques. I'm trying to find a way to make fresco that can be detached from a wall, and I'm trying to find new people who can help me work on a very large scale in bronze.

A lot of my work deals with this emotion of discouragement or fear, and this emotion cannot be approached without humor because then things become indigestible. You don't want to eat them; you don't want to be in contact with them.