Handmade paper with the intent to suggest, as a starting point of the chosen haiku, the foam of the sea, the wings of butterflies, the sky lit up by the moon.

Sheets are placed on the table as on stems of a flower, they can be moved onto the twisted stem at the whim of the moment; they are moments and feelings captured after reading loads of texts that refer to the charm and poetic evocations of nature.

Symbolic shape of a temple with side imprints of Pali language and Jain symbols. On top there are elements recalling astronomical instruments. On the four sides, four open books made in Hanji paper describe and illustrate Korean landscapes and page fragments from the Jikji Korean book.

I have always loved paper, from very light facial tissues to heavy sheets of rice paper, wrapping papers and wallpapers, papyrus and worn out papers, including those where you wrap food. I used them in layers glued and pressed, I dyed, faded, wrinkled, torn them into smaller slices, I abandoned them in the garden and retrieved them when their condition was “good for me”. I formed nests, pages of words, long strips of painted and written meters, then I started to make the paper by myself.

In the workshop “The navile” the first encounter with pasta pulp and sieves, with tanks full of wonderful mush where even just dipping my arms gave me immense pleasure. There I began to make my sheets and include pieces prepared in advance, pages, words, colored papers, ropes and slings.

I cut these sheets open, and from there I created more papers and fragments, like speaking parts. These sheets were hung like clothes on hangers, they formed large and small books, always words and color and the extraordinary material that when you wantmake folds, blisters, bumps and excrescences like buboes,but beautiful white buboes that you can open and from which other materials appear.

Now these books have decided to get up from containers and lecterns of wood and metal.

They are complex objects - sculptures that go beyond the act of reading, they have become “objects book” like fetishes or shrines.

In this travel book, writing and paining merge in every page. These are musings where pen and brush contribute to reflection. I sought the transparency of shiny fabrics, the refinement of ornate embroidery, the fickleness of a cloudy sky, blazing sunsets, the obscurity of temples, the splendour of divinities, gazes, light and shadow.

Looking at the sky in India and women's sari I created a long book that folds like fabric. It is a sequence of chromatic sensations, darkness and luminescence. It is an Eastern coloured landscape paced by Tagore's verses about the sky and Indian women.

Verses by Amy Lowell and Emily Dickinson take turns on pages where black background and parchment paper are the scenery of the paining.

I interpreted the Canticle like the reading of a book with handmade paper, as if it were worn by time, marked by folds, cuts and annotations. In the cellulose pulp I put different materials such as copper sheets, cards previously treated, metals of different natures. I have divided the verses in colors,as symbols of the four elements: air, water, earth, fire. The gold color is reserved for the Creator and for all His peculiarities. The pages contain seals, bookmarks and frames with woven divine adjectives and the verses about death. The spine of the book of white materiality, is treated with different processes, the symbol of a tree trunk that receives fragments of words into long strips and as branches, descending from the sheet placed over the book, helping to compose the rhymes of the text.

It was my first book, here I have collected a few poems by my mother, I have created images to accompany the text, small gouaches with flashes of gold. The color, a dark red cadmium was the thread linking images and texts.

The cover is different in each book, the title is written on each one by hand and I added red signs.

Each book is unique.