In my artistic training I drew mainly from Fluxus, the Situationist International and punk, all schools of thought that developed the DIY (Do It Yourself) aesthetic. Consequently, both in my work with video, and in my work with images, I have always used non-professional technologies, with the intention of taking it in unforeseen directions often considered erroneous, but highly expressive.
In the 1980s, at the beginning of my career, I turned to video technologies related to surveillance and CCTV systems, to design installations focused on the claustrophobia of value relationships within the art system. In the 1990s, I appropriated hi8 video and took to the streets to give an image to the urban landscape constructed by people's gestures and behaviour.
At a certain point, I started to slow down my video production in order to make greater use of other forms of intervention, such as installations and drawing. This gave rise to interventions centred on the often paradoxical relationship between words and images (my REBUS series and my GENETICALLY MODIFIED WORDS series). More recently, I engaged in a new project of carpets and tapestries (TATTERS), in which certain textile techniques and iconographic elements of Sardinian carpet tradition are distorted within narratives that foreground the unresolved and harmful aspects of our present.