MONS TROSITIES was born from a need that has accompanied me throughout my life: never to separate artistic languages, but to allow them to interact until they become a single experience. Throughout my journey I have moved through music, graphic design, video, installation, curation and the creation of cultural spaces, yet I have never experienced these activities as separate worlds. To me, they are simply different tools for expressing the same imagination.

Music was the first territory in which I learned how to build narratives. As a DJ and soundtrack creator, I have always regarded mixing not merely as a technique, but as a way of thinking: selecting, juxtaposing, layering and creating unexpected connections between seemingly distant elements. It is a process that I also recognize in my visual work, where every image emerges from the encounter between synthesis and imagination, control and instinct.

The experience of creating Mons Art Stage has been part of this same exploration. When I founded the space in the heart of Rome, my goal was not simply to exhibit artworks, but to create an environment where artists, audiences and disciplines could meet and engage with one another. I have always believed that art is not only what is displayed, but also the way it is experienced.

This approach runs through every aspect of MONS TROSITIES. The title itself contains a play on words that reflects my identity: a fusion of my artistic name and the concept of “monstrosities.” Yet the monster here is not something to be feared. It is an inner presence, a creature emerging from the deepest regions of imagination, where fascination, unease, memory and desire coexist. My “trosities” inhabit an ambiguous territory that resists fixed definitions and remains in constant transformation.

My graphic research on animals originates from this same tension. I am interested in reducing form to its essence, stripping away the unnecessary until the figure becomes an almost archetypal sign. The animals that populate my works are neither decorative subjects nor straightforward symbols. They are presences—creatures that retain something ancestral while belonging to an imagined dimension. The geometric synthesis often associated with a Bauhaus-inspired aesthetic is not, for me, a formal exercise; it is a way of intensifying the evocative power of the image.

An important part of this exhibition is the dialogue established with the creations of Dedicato Design and its founders, Giacomo Scarcia and Riccardo Zegna Baruffa. Their work introduces a further dimension to the exhibition, where design is not conceived as a functional object alone, but as a language capable of generating atmosphere, identity and emotional resonance. The encounter between my visual universe and their design pieces emerged naturally from a shared interest in contamination between disciplines and in the possibility of transforming spaces into immersive narratives. Within MONS TROSITIES, their creations do not serve as a backdrop; they actively participate in the storytelling of the exhibition, becoming presences that converse with the artworks, the videos and the sound environment.

With this exhibition, I wanted to bring together all the elements of my artistic practice within a single environment. The exhibition space becomes a place to be traversed rather than simply observed. Graphic works printed on aluminum coexist with moving images, design objects, and a continuous soundscape that accompanies visitors throughout the journey. Marine waters, forests of fire, mental landscapes and hybrid creatures unfold like chapters of the same story.

Music plays a fundamental role. It does not merely accompany the images; it moves through them, expands them and transforms their perception. It is an invisible presence that constructs depth, rhythm and time. The same principle has guided many of my artistic collaborations, from projects that intertwine music and literature to those in which sound enters into dialogue with photography, visual storytelling and design.

MONS TROSITIES is not a retrospective, nor is it intended as a definitive summary of my work. Rather, it is a statement of method. An invitation to enter an ecosystem where music, graphic art, video, design and space coexist without hierarchy. A place where the creatures generated by vision do not ask to be explained, but simply to be encountered.

I would like visitors to leave the exhibition with the feeling of having crossed a territory suspended between reality and imagination—a place where every image, every sound, every object and every presence contributes to the creation of a personal emotional geography. Because, ultimately, the monstrosities that inhabit this journey do not belong only to me; they belong to all of us.