Antonio Marras does not follow the rules; he steps outside the margins.

He is a nonconformist: he makes, unmakes, arranges, pairs, fits together, cobbles, assembles, unites existing, forgotten pieces, and pieces originally intended for other uses — objects created specifically only to become something else once again. His works are the result of chance and intuition. After all, it is the fire that decides. Fire is his master. And this master is Hephaestus, the god of metallurgy.

Totems that defy gravity, screens that seem written in a forgotten alphabet, lamps and mirrors, furniture that appears to breathe at the mere touch of moonlight: limited-edition works of art that explore the affinity between metal and artistic expression.
“The fact that this material slips from my hands, that it surprises me, is the most interesting thing.” affirms Antonio Marras “Metal must be followed. It has limits, like a hedge: you have to lift your gaze, surpass them, go beyond. And it is precisely there that something happens: those limits become possibilities, opening up to organic forms that begin to come to life.”

“I don’t know how many today work the way De Castelli does — with this level of refinement, research, and continuous experimentation. I don’t have a direct comparison, but what they do, and the way they do it, is evident: the attention, the care, the process that leads to the finished object, the constant pursuit of research.”