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.

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

I like to make sculpture because it makes my life social. When I make drawings, I work alone. When I work with sculpture I have someone I can work with.

Daily life is both the subject and environment of the work I am making.

For me, it's really important that the experience of art is always something that is able to provoke strong emotion, an emotion that you feel in your heart or your stomach, but also that challenges the brain at the same time. It's an experience - physical and intellectual.

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

One of my assistants was on Instagram and showed me how it was working. I thought it was playful, the way you go through images, a little like cinema. It's a bit like a filmstrip that's animated by your finger.