Federico Cantini

Cantini's work could be considered an exercise on objectual animism in the extent the pieces are thought of as the effects of sensibility on transit, into other realms both material and mental. His work, may it be with elements as hard as steel, or as malleable as mud, compose vital universes in which the features of the soft marks of handicraft coexist with the violence of its implements. In his later works he cooks mud from the banks of the Parana River on a ceramic furnace, or reutilices, carves with an axe and a hammer, and airspray paint, leftover wood from the pruning to present scenes and situations loaded with ambiguity.