In 1996 I began my collaboration with the Alessandro Bagnai contemporary art gallery (the family gallery), and in 2008 I opened a space in Florence under my own name, to carry forth a project that would allow artists and designers from various disciplines to dialogue with one another.

The intention – taking cues from 19^th-century Period Rooms, but with due differences – was to create a space where diverse creative experiences could come together.

My reference to Period Rooms was also intended as a suggestion for collectors to complete their efforts by enhancing their collections with all of the sorts of works and art objects that characterize the historical periods to which they pertain.

This also seemed important to me in terms of the sustainability of a collection, which, if focused on developing one idea, setting aside the schizophrenia that often comes with the lack of a guiding principle, would favor its quality and lasting value.

Certainly, no form of ornament could be excluded from such a project, and in consideration of my own exploration of the contemporary arts, it was fundamental for me to lend particular attention to contemporary jewelry.

In the earliest collection of one of the world’s oldest and most important museums, the Victoria and Albert Museum, jewelry occupied a central position, and still today continues to hold a place of honor in the collections of numerous art museums around the world.

The link between contemporary jewelry, art and architecture is a strong bond that had a sort of revival in the 1950s with the work of jewelry artists like, for example, Hermann Junger, who, while maintaining the indispensable characteristics of jewelry in his little pieces, also made them a means of artistic experimentation.

The flourishing artistic movement that developed mainly in Germany, and in particular in Munich, led generations of artists there to choose jewelry as the principal medium for their creative production, although their oeuvres also often included painting, photography and other forms.

Little wearable sculptures, the functionality and portability of which are necessary but not absolutely indispensable, jewels thus came to be included in important private art collections.

In this spirit, I put together exhibitions for the gallery, for fairs I participated in and for public institutions I worked with, focusing, as I have mentioned, on the dialogue between artist from different disciplines.

They included the show at the MAXXI in Rome, entitled Corpo Movimento Struttura (Body Movement Structure) and curated by Domitilla Dardi, in which the work of the jewelry artists Helen Britton, Monica Cecchi, Philippe Sajet, David Bielander, Giampaolo Babetto and Peter Chang dialogued with plans and drawings by famous architects like Carlo Scarpa, Maurizio Sacripanti, Pier Luigi Nervi, Vittorio De Feo, IaN+ and Sergio Musmeci; and the exhibition for the Italian Institute of Culture in Paris, with Giampaolo Babetto and Carlo Scarpa together once again; and one at the Museo Marino Marini in Pistoia entitled Gli allievi dell’Allievo (The students of the Student) curated by Marco Bazzini, among others.

In 2020 I moved my gallery to Foiano della Chiana in the province of Arezzo, occupying part of a vacant box factory.

Here, I am continuing along the same path I set out on back in 2008, with greater freedom to stage exhibitions thanks to the characteristics of the new space, and with the gratifying knowledge that I am showing the work of international artists I have the honor of working with in an area of immeasurable historic and landscape significance.