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Kintsugi Restoration Milan


I have been practicing the kintsugi technique for many years, so much so that the cracks have now entered me. I can no longer look at a ruined object, a devastated road, a broken wall, without catching a glimpse of its poetry. We are all bent by history, disfigured by experiences, the only thing we can do is accept what happens by telling ourselves that it is all life: suffering makes us more empathetic and, if we want, poetic.

For this reason, when I see an object, I cannot consider it just matter, but a translation of what I am. So I decided to try to convey all my experience through the art form that best suits me, kintsugi sculpture and not only that, also with sculpture worked with traditional Japanese techniques, that is, lacquered with urushi and painted with the maki-e.


For a few years I have been experimenting with the kintsugi technique on photography, in collaboration with the photographer Carola Guaineri. The main material used in this type of restoration, i.e. urushi lacquer, needs to be placed in a cabinet called MURO in a constant hot and humid condition to polymerize, while the papers on which the photograph is printed (baryta and polythene ), they fear humidity. For this reason it took three years of research to arrive at the first acceptable results.

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