As a pianist, I was daily in contact with the masterpieces of the past and therefore I always found challenging to compose for piano myself. I was able to express myself only through musical language I inherited from the pieces I had been studying: my early works were overflowing with thematic ideas.

After many years of composing, my change was not gradual, but drastic: in 2021, I composed White on White, a piece that destroyed my past full of notes and is built almost around single note.

Hence, three years later, Diagram and Projection is an album born from internalizing the extremization of White on White's fracture. White on White is its seed, a quite complex and structured piece... that generates the less elaborated following tracks, each dedicated to a nuance of the first one. Mostly, I stopped thinking of music as a series of notes and started thinking of it as flows of energy: a composition for me is an intensification and fading of different sound colours, a malleable mass that sways in search of its form but never manages to structure itself.

The change that led me to this concept came from my experience in the field of film composition, especially that of electronic music, but it was hard for me to transpose it onto the piano. I translated the cinematic, ambient sound and surround spatiality onto my keyboard through almost imperceptible dIfferences in dynamics, arranged in different, simultaneous layers, that play like automations of a Channel EQ of a drone, in the minimalism of obsessive and hypnotic repetition, in a particular and detailed use of pedal, in changes of meter and metronome. To me, these features are almost more important than the notes themselves, they destroy any superstructure in search of that layout of an idea that is born as a free soundscape.

At a certain point, each key was not longer corresponding to its note and I focused on the charm of distorting the instrument: it is a piano that cannot and does not want to be such.