 The first thought have, I would like to tell you, is the first home we have is our body. This performance I've done in the central station in Bologna, in my city. And for this performance I made a flottable skirt with a patch of inner tube. And I would like to try to take a train, but my body grow up and I couldn't and I miss the train. In my presentation I would like to turn the page of my diary, the building stone of my work, as my work turning my life. This is my first diary, I've done it in 1999, and it's a parallel anatomy, it's an emotional anatomy. It divides in five chapters, heart, stomach, lungs, bones, and reproductive organ. I will show you a few pictures. And for me it was very important, because it was the beginning of my study about the body, because when I started to be a performer I thought the most important thing for me was to start from the inside. So it was important to study the anatomy, how it was. Most of the time I really like to perform on a specific project. This is in Belgium for a show about the environment space, and my show was the pound. And my desire was to reborn inside the pound as a part of the life of the pound. I made with a crochet a leaf bed inflottable on the pound. And this work usually I made myself, and I spent between five and six months to knit and to make together material. It's really important for me in knitting, or to try material, because they like to make a new skin, a sort of extension between my body and the space around myself, a connection. This is La Di Piano, is a performance of the Dane Corini Stampaglia of Venice, a museum in Venice, for a furla prize, and on this occasion I won the prize. And furla, the Corini Stampaglia is a museum with inside a very beautiful and antique musical instrument collection. And the show was inside this museum, and then they chose to redesign one of the instruments, which has the piano in a bigger size, and they covered it with the plastic knitting I made. And the knitting was growing from my body, and my body protected the piano. It's sort of a new mythology, because I was inspired from the temple of Diana, where a deer protected that temple. So I made ceramic horn and ceramic shoes to be a sort of guardian of the piano. Usually my performance in this case don't have a more action, just appearance, presence, part of the work, as a soul of the work. When I left the work, what did remain is a trust of something happened, and the piece of my body I left behind me. This is another example of an installation specific in a museum in Italy called Mart. And then I recreated a special room, and the idea was like an elevator, an elevator stopped in a room, so I lift up the floor until 80 cm, I don't know in fit, and before the end of the ceiling. And just in front of the door I put a big stairs, covered with the knitting, came out from the little door, little room. And it was inside completely covered, has a life, stopped. When you are in the elevator, sometimes it stops, you can move, everything stops, and maybe your body is not ready yet. This is an installation inside the walkway, and the people couldn't use this kind of passage, because it was closed with the big big things, where I was inside, and they pushed for all day of the performance, because my performance usually are all time of the opening. The people can see the beginning, can see the go inside my work and left my work. It is a long time I would like to show the people, because it is a part of my life. And I pushed the big big things inside the tunnel, as a piston, to the end of, I pushed it to one, at the end of the one side, and when I arrived to the other side. Page is growing my life, and this is an installation I've done at Columbia University in New York, after my residency program, and I was impressed from the flag, the pool flag pole, and they make two cocoon flags, to give an idea of a new identity was growing inside the building. And inside, I hold the cocoon outside, so it was in relation between inside and outside, and extension, and the flags usually gave the identity of the building, for one day the identity was growing, not ready yet. These are drawings about, I made thinking about a performance about nature. Nature is not mean for me vegetable or plant, but nature has the nature to be a person, the approach we have. And these are the drawings about the surface, where the nature would like to find a landing place. And I showed these drawings with the performance I've done at the Chelsea Art Museum last year. And the performance, a big bush hanging on the ceiling, dripping down, looking for a place to climb, and find my body, and it became just one part, one thing. It's a sculpture installation he made with 30,000 sponges, so it together. In this period, my diary were covered with different point of view, and the landscape, and the bird influence, my approach with the work. The best thing to see a landscape is from high, so fly on. And the installation I've done for Macro Museum in Rome was a landscape of nest, because the nest represents the house of the body. The bird has made the beautiful natural engineer, because they built wrap, they built on their bodies, they built wrap on their bodies, the house. And in the same way I used this approach, I built my nest around myself, I gave it to every nest my shape. The installation he made with 28 pieces is bamboo intertwined with paper towel inked, and the people could work through the landscape. The nest is very important for me, because they represent the idea of the life in motion, because we are always in motion, we left behind us a lot of things in place, because the nest, like cocoon and clothes are temporary place for our body. And I consider my performance as a butterfly process, because I make my sculpture around my body, and the left has the wings having a home. Thank you.