Linea project was born from the idea of ​​spatializing time. The research is currently divided into two activities: the first is the creation of figurative drawings made with a single line with time constraints of which the 3 minutes sketch  are an example; the second is a performative activity in which I execute a line that develops in a time interval in which the progress of the stroke becomes a diary of every palpitation. Each moment records the vibration under the skin or just tests the physical resistance of all muscles. The encounter with the passing time is recorded by the line and by a contact microphone placed on the surface of the representation. So the graphic line is also converted into a melody which, from the greek mèlos is a "member" of a proper musical part, is a concrete part of the performer's primary feeling.

The events recorded in real time from the line become an experience of the passage of time and therefore a translation of the change. The change presupposes that the time difference includes more than one position in space. At least two positions are needed for one direction (Lewin, 1957). Perception must therefore always be assisted by memory, which is inseparable to it. Time, to be graspable, must be translated into spatial simultaneity.

The line seen as a border area of ​​feeling like the Moebius strip where the segment of two surfaces is transformed into an infinite plane: divisive and at the same time inclusive. The geometric straight line and, more generally, the line lives on a horizontal infinity as it is always possible to find a point more to the right or more to the left of any marked point: a horizontal infinity like the movement of a smile and translation of happiness. The segment (which by definition is apparently a paradox: a limited set of infinite points) lives on a vertical infinity as it is always possible to find half of the half of the half ... It’s a fall, a chasm, an emotional tunnel (melancholy, sadness, silence).