We are a group of innovators who love classicism, aware that one can be truly contemporary only if one is not afraid of tradition.

And We, in fact, are Not afraid of it. We are not afraid of tradition, nor even of the past, because art is timeless. We find antiquity everywhere, alive and active, as if grafted onto the new, of which, were it a tree, antiquity would be the roots.

Many are inclined to believe that time crystallizes and settles into history, which in our case is more a history of art, but anyone who makes this trite association is mistaken. Art has little to do with art history. Classicism is not something that binds and limits, but a model to be respected and subverted; something that changes and feeds on the new and gives life to new classicisms in a continuum. It is a treasure with ever-new coins to be spent in the present but also in the future. Precious for those who look ahead, but also for those who in various ways turn back. We think art is timeless, and works, too, are partly so. And in any case we do Not like to think too much about the passing of time and its unstoppable flow, forever changing. Our works truly stand as milestones and equally as stumbling stones. The art system, with its accidents, teaches us that even as artists we are above all active spectators, actors and extras, directors and onlookers. We are in search of novelty, and its wonder makes our being in the world a privilege. As we were saying, we are greatly interested in the ancient techniques with their ancestral heritage, and at the same time we gladly let ourselves be seduced by the most modern technologies.

We work so as to develop real skills in our various fields of interest, so that technical mastery may nourish our know-how; yet we do not disdain the roguish flash of ironic experimentation or the lightness of self-irony. The new technologies are our passion, like the ancient ones; in this we resemble new humanists, not scientists, nor physicists, we are, rather, skilful manipulators of matter and of ideas. Aware of how pointless it is to draw specious divisions between old and new, laying new preconceptions over old beliefs. For us the ancient techniques are younger than the contemporary ones, which, as they move towards each other, often collide, but this is a good thing, for from the miraculous rubble of the impact spring new possibilities and new visions, of the world and of art, understood as something that was not there before.