Oscillating between pictorial and sculptural works, abstract and figurative, Generative Endless Compositions (GEC) is a modality of art production that characterises FZ’s certain bodies of works, in which the act of fragmentation/
reconfiguration of the artworks constitute the work as much as the artworks themselves.
GEC deals with topics of subjectivity and intersubjectivity, transformation, constant evolution and simultaneous variability.
It can be connected to human condition in the context of contemporary society, to natural evolution, to the ambiguous repercussions of scientific discoveries, or to exercise viewers imagination on chain reactions and alternatives analysis.
Looking for new imaginary common grounds, or simply offering new playgrounds for exploration and wonder.

This work mixes figurative and abstract language, repetition and evolutionary change, to deal with topics of identity and representation while posing questions on subjectivity and intersubjectivity.
Viewers are disoriented but placed in an active position, free to interpret and reconstruct creatively the scattered landscape around them, constituted by the representation of a single subject (a flower) that has been fragmented and displayed around them in several parallel reconfigurations.
The subject of the ‘flower’ is merely a starting point, as its fragmentation and all its simultaneous variations constitute the work.
It is a vision of the contemporary work of art which does not position itself at the termination point of the creative process (a ‘finished product’ to be contemplated), but more as a site of navigation, a portal, a generator of ongoing activities in perpetual evolution.
The public is encouraged to question what is in front of their eyes—in the context of the exhibition as well as metaphorically in their lives—and to go beyond the immediate appearance, choosing plurality over singularity, finding similarities among differences while celebrating variability.
Viewers are free to explore multiple abstract shapes and structures created by dismantling, scrambling, recomposing copies of the initial flower into new alternative and simultaneous narratives, suggesting an open-minded approach for challenging the representation of everything around us, actively envisioning new configurations and significances.

Taking inspiration from what happens in Nature in which very different species share the same identical DNA building blocks but arranged in different ways, all these artworks present small arrangement variations which lead to vastly different results in the way they appear. Flowers can have similar features but different configurations, can display mutations, or can combine together fragments from different sets, producing compact arrangements or grouped into families.
At the forefront is the generative process that redefines the initial shape of the flower each time, not the artworks of the flowers themselves.
The portrayal of each flower is displayed in a continuous rearrangement of its ‘elementary components’ (the same fragments generated by the initial dissection gesture of a one-line scribble), rather than on a unique configuration (singular interpretation). Many variations of that flower are created simultaneously by combining almost identical copies of its basic elements, connected and arranged in different ways. Artworks are reconstructed abstractedly using homogeneous fragments from similar sets or by blending together sets of fragments from different ones.

Surfaces is a collection of 5 artworks , each one is a digital collage (C-print and mounted on acrylglass) that recombines the same initial visual motif in five different geometrical configurations, increasingly harder to be recognised. The initial subject is a high resolution cropped portion of the painting Just Like Fishes in an Aquarium (MACULA / Chinese Whispers), in which colors and textures have been digitally manipulated to get away from the initial subject. The works on one side connects with the work MACULA, while on the other side it brings the distortion of the initial subject to the extreme, becoming entirely something else.

In the last few years the universe became the subject of increasing attention not only by the physics community but also by the general public.
The passion for the cosmos is not confined anymore into academic studies. Discoveries are backed up by enormous amounts of data, images are available online in high resolution for people to explore, fantasize and wonder. The expanding universe, its theories and its implications opened up to the mainstream, not only as the new frontier but as a sort of new 'commodity'.
A universe that has become a commodity before even having a complete picture of what we are consuming exactly.
The title Postcards From Space refers to the cosmos being the last frontier both for scientific exploration - in terms of physics discoveries - and the new commodity for human exploration - in terms of expeditions and leisure - uniting the human strive for knowledge and quest of the unknown with the future of civil space exploration.
The work is about the never-ending clash between reality and its representation (in human history, in science, in the universe) and the constant necessity of connecting known and unknow, individual elements to the bigger picture, refreshing the image we have of what surrounds us, updating what we know and leaving space to elaborate what we don't know yet.

The Big Bang is a cosmological model of the observable universe from the earliest known periods through its subsequent large-scale evolution. The model describes how the universe expanded from an initial state of extremely high density and high temperature, and offers a comprehensive explanation for a broad range of observed phenomena.
After its initial expansion, the universe cooled sufficiently to allow the formation of subatomic particles, and later atoms.
Giant clouds of these primordial elements – mostly hydrogen, with some helium and lithium – later coalesced through gravity, forming early stars and galaxies, the descendants of which are visible today.

A nebula (Latin for 'cloud' or 'fog', pl. nebulae, nebulæ or nebulas) is an interstellar cloud of dust, hydrogen, helium and other ionized gases. Originally, the term was used to describe any diffused astronomical object, including galaxies beyond the Milky Way.
Most nebulae are of vast size; some are hundreds of light-years in diameter. Although denser than the space surrounding them, most nebulae are far less dense than any vacuum created on Earth – a nebular cloud the size of the Earth would have a total mass of only a few kilograms. Many nebulae are visible due to fluorescence caused by embedded hot stars, while others are so diffused that they can be detected only with long exposures and special filters. Nebulae are often star-forming regions.
In these regions, the formations of gas, dust, and other materials ‘clump’ together to form denser regions, which attract further matter, and eventually will become dense enough to form stars.
The remaining material is then believed to form planets and other planetary system objects.

In physics, spacetime is any mathematical model which fuses the three dimensions of space and the one dimension of time into a single four-dimensional manifold. Spacetime diagrams can be used to visualize relativistic effects, such as why different observers perceive differently where and when events occur.  A way to visualize the concept of curved spacetime is a ‘fluid’ surface with a grid of local coordinates living on it, giving the local directions of space and time.

Line 2 / There Is No Right There Is No Wrong consists of a group of works exploring the recursive and generative evolutions of a seemingly random line.
The works in this group consists of painted styrofoam cut-outs, bidimensional and tridimensional configurations (bas-relief painting, all-round painting).
It differs from Line 1 by the materials and the parameters chosen to combine the elements of the composition.