- "Desertstar", made for the Palmers Sculpture Biennial 2010, yellow and red sand, length 150m approx.
- In my work "Surprise Forest" for Natures Urbaines at Fontenay near Paris, 2002, I looked at the City Hall park with the eyes of a child. I covered the natural color of the tree trunks (green, gray, not truly brown) with terra di Siena pigment. They took on a different look new and rounder. Children use this red-brown color when they want to paint trees.
- "Inondation", 2009, Camargue, France for Cultures nomades, Mon projet est install� � un angle d�un champs de riz. Je veux y faire une jonction entre un grand champ de riz et un petit champ carr� (petit en relation) que je vais excaver � cet angle. Mon petit champ serait environ entre 6 m de longueur et 3-4 m de larguer. La connexion entre le champ et le petit champs est fait d�une grande vague de roseaux
- Star Rotation, made for Bigci of Angophora bark, 2012, 5,90m x 8,90m x 2,10m
- "Floating Clouds", CT 2006, fiberglass paper, painted branches, plywood, 5 objects, l 1,80m x b 1,20 x h 1,40m
- "Verso l´Inizio", Pordenone 2008 hay, 100m x 40m with Lorna Green
- "Cleaning up the Town", 2007, this work is designed for a small medieval town in Belgium. Nature looks completely different in towns. A town, for man, is part of nature as well as somewhere to live. My work shows the relationship between nature and artifice
- "Washing the Thoughts-laver les pensées", porcelain, ceramic, wax, 3mx3mx3m, 2013, France, for Vaertigo. In this work I propose a certain view on life where hardness and lightness always are opposing. I remember the washing women of my childhood in Italy where the long stripes of soap are floating down the river. There is a constant movement in the air – the drops and in water the hands. The hands of the washing women immerge in the water. And why not washing the thoughts? The drops are falling from the sky and nourish the river. Sky and river meet. I defines this work as an homage to the unknown women washing in the river, their thoughts their chatter and their teardrops.
- Wing Beat, Palmer Sculpture Biennial 2012, 120m x 60m, white sand, Wing Beat is about the nature of the landscape here with its eagles and other birds. It is made of white sand which is swept away when it rains heavily. It is approximately 60m in diameter and 120m long.
- "Flotilla-la Flottille" 2012, My work “Flotilla” questions the current trend for diverting useful agricultural products, such as wheat, into the manufacture of fuels and the generation of electricity. I want to show that, instead, energy can be generated from the by-products of agriculture. The material I have used appears inert and lifeless. But, when eaten by animals, it becomes “life-giving” energy. When burned, its energy is immediately released. I have used straw to build 20 tightly-packed cones approximately 60cms high. The shape of each cone brings to mind a rocket or pyrotechnic projectile. This is meant to evoke a lasting form of energy. By laying these cones out across or alongside a clearing, I also give them a dynamic trajectory.
When I select a space to work, whether it be in nature or an urban landscape, I try to find some immediate relation to its next biggest border. For example, this could be a building, a tree, water or something else. Around this border I create my own space. If there is not such a relation point I immediately try to create my own space and create a relationship with the spiritual, historical and/or geological views. My whole interest is to create my own very personal space but this space is always in connection to one of the above conditions.
At first I try to inform myself about the specific situation of people, the habitat and the wider landscape. Each landscape can tell us about the very special and sensible condition of the place. Next I choose my materials which varies according to my current artist statement. Material’s are important because they can capture one’s innermost thoughts. Finally, I put my eyes in my finger caps and being working on the piece.