1. Welcome Marco to The Influx Gallery family. Tell us a little bit about yourself and where you are from? Thank you for the opportunity. I was born and raised in Rome, in a typical italian middle class family. After high school, I had a few experiences with video and audio making. Then, I joined the Academy of Fine Arts. Meanwhile I attended naturalists and tarologists - shamans - to comprehend more in depth the interpretation of symbols and archetypes and started working as an operative in galleries and ateliers, assisting others, friends or collagues. 2. Were your family supportive of you deciding to become an artist? My parents were always supportive of me. Even if their experiences and prospective in life is vastly different than mine, they've always been there for me. 3. Was there anything specific that you can remember that made you want to become an artist? I have never actually "wanted to be an artist", rather I have always felt a natural necessity to create stuff. I was drawing and creating objects or inventing stories, since I was a kid. Later i discovered this attitude was celebrated in museums and galleries. I remember my father took me at the Modern Art Gallery of Rome, when I was around 10 years old. So I started to study those "artists" - their practices, their lives - and fell in love with it. I still prefer to avoid calling myself an artist, I prefer saying I make sculptures, paintings or performances. 4. Did your schooling or work affect your creative development in any way? I was at "Alessandro Caravillani" artistic high school where I met Paolo Aristi Cotani. Until now he' s the only one I can call a mentor. After he passed away, I definitely joined Atelier Montez, and Montez Familie by extention. Obvoiusly, I 've met several amazing people in my life, but I would say those two happenstances were my "foci of the ellipse" until now. 5. When did you first discover the important link between performance, painting and sculpture? I tried to merge my different activities from the beginning. I believe in the benefits of a multidisciplinary approach, so I've always wanted to experiment using my sculptures or my visual works in an action. Or creating them from an action. Probably, my taste for spectacularization was reinforced by a few experiences I had in settings with directors, actors and dancers, through the years. Obviously, we already have a huge litterature about this kind of interaction, Jackson Pollock or Hermann Nitsch for istance. 6. Can you tell us a little about your favourite personal performance, sculpture or painting? Lately I had a rerouting, surely because of my involvement in the Nitch's latest performance and my intercourse with some extraordinary artistic and inspiring personalities. Right now, I can say my last performance "No gods anymore" - and the series produced through it - is my favorite work. It is inperfect for sure, but is also my first step foward a deeper and more vaste vision and research, for me. 7. You have participated in some big exhibitions and performances particularly within the Roman art scene. Can you divulge to us a favourite memory from these events involving your work? Well, I get nostalgic thinking about a lot of past moments. Maybe it could be funny if I talk to you about the 2014 "Made in Rome" exposition. I was frequenting the atelier Montez, where the artshow was inaugurated, for a few months by then and I already knew most of the partecipants. There was a party at the end, where we started dancing all together. I still have this strange picture as record: myself portaied wearing Franco LoSvizzero's white rabbit performance mask, with one of my works behind me: a transgender make-up Benito Mussolini. 8. Could you give us a little teaser as to the process that enables you to intertwine such varying elements within your oeuvre of work? I used to write in my statement that Art is a irreplaceable gear of our society. Art connects culture, the everyday life, influencing mass media, politics and everything in between, placing new necessities. This kind of interlacing is only possible finding the right forms of language, the right istruments. My process is in part chaotic, for sure, and it consists in trying to pick up those elements and put them in evidence. This can be achieved by using elements or 'signs' that people recognise to convey new concepts that arise. Like in language we adapt words and alphabet to satisfy the need for expression. 9. Where do you get your inspiration and influences from? Art allows people to see a part of reality that is still unseen. As long as possible I put myself in the observer position, from where I can choose those details that I find suggestive and then add something from myself, from my fantasy and my inwardness. So, that's inspiration. Still, my influences alternate between the study of Art and, beside, the learning of esoteric concepts - or exotic, if you like - Interesting sensations could be reached in literature, watching movies and a lot of musical videoclips I found masterpieces. It's obvious, music is essential. I would have liked to be a musician, I never was good at it. I can say, it's such a broad landscape. Again, I love the austriac Activism, Nitsch in particular, and I can't do without admire the work of Marina Abramovich and few friends' work, like Dirk Baumanns' and Gio Montez's. I got to mention my interest for the procedural elements staged by Jodorowsky during his psico-magical rituals. But also I took lot of suggestions by visual arts. For istance, the photographic works by Witkin, La Chapelle, lately Sean Mundy and Gian Maria De Luca. I pay attention a lot to some "illustration artists", as Dave Mc Kean, Gerard Scarfe and Ralf Steadman. 10. Do you have any tips for any inspiring artist who is using software, drawing, sculpting, or picking up a camera for the first time? Don't feel judged. Paraphrasing what Paolo Cotani once told to me: " You know what it is you want to do, how you achieve it is your business".