Mimesi del sogno, un progetto di
Mindshapes, Luca Meraviglia and Stefano Turconi
[a few questions]
How did your story begin?
Mindshapes / From an early age, I felt drawn to the act of creating. In 2015, thanks to the guidance of outstanding teachers at the Academy of Fine Arts of Brera, I came into contact with the world of contemporary art and began developing my own artistic research. At the same time, I started collaborating with the Milan-based tattoo studio Satatttvision. Creating visual art on skin allowed me to become familiar with producing works on three-dimensional, moving surfaces such as the human body, using waves as a clear and essential stylistic signature.
I began creating representations of floating, dreamlike worlds that remind us of our connection to a subtle dimension, evoking feelings of calm and serenity associated with the element of water. In 2018, my first collaborations led me to work with some of the world’s leading design studios, culminating in the presentation of my first collection at Fuorisalone 2023.
Positioned somewhere between the quantum realm, spirituality, and the interpretation of natural forms, waves have become for me the principle that creates dialogue between interconnected worlds: the visible spectrum of light frequencies and the audible spectrum of sound frequencies.
Luca / My story began when I left architecture school. Despite the doubts and difficulties, that moment taught me that creating requires honesty with oneself. Listening to oneself.
During a year of transition, I worked as a technical draftsman in an international architecture firm in Milan while also starting ul caminett, a cultural association through which I organize concerts and festivals. There, I experienced the freedom of building installations, caring for a garden, and creating spaces for people to inhabit and enjoy.
I met individuals, organizations, and collectives, and joined one of them, Orbita Studio, collaborating on installations both for ul caminett and for other events. Orbita taught me a great deal, especially about taste and a vision I had not previously possessed.
Driven by this renewed motivation, I decided to study garden design at Minoprio, first learning the fundamentals of botany and then how to apply them in space. I realized that I truly enjoyed it. A garden offers endless possibilities. And nature genuinely benefits people.
I was reminded that self-expression means conveying a message that goes beyond oneself.
Stefano / Everything began in the courtyard of a small village between the Upper Milanese and Lower Varese areas, surrounded by the plants and animals of what had once been a farmhouse and was later transformed into a home.
I grew up there, spending much of my childhood with my grandparents in an environment where nature and craftsmanship coexisted every day. My grandfather was my first true source of inspiration. From an early age, I followed him in everything he did: when I was only five years old, he taught me how to mix mortar and design small objects on paper.
My “toys” were not plastic, but wood, nails, bricks, and cement. It was in that setting that my curiosity was born: to observe, understand, and build.
My encounter with technology came gradually through my school years, but it was in high school, while studying business information systems, that it became a true passion. From that point on, I began combining what I had always done with my hands with what I could design and develop through digital tools.
This fusion of nature, craftsmanship, and technology forms the foundation of my artistic and design approach: a balance between observation, functionality, and continuous research, where every idea emerges from experience and evolves through innovation.
Who are the people who have most inspired you artistically and professionally?
Mindshapes / Fundamental artistic influences have been—and continue to be—Felipe Pantone, a central source of inspiration for form, composition, and his ongoing exploration of light; Andrea Sata and Yuri Sata, multidisciplinary artists whose practices originate from graffiti, art, and fashion design.
Andrea, creator of the Plus Orbs—a pure circular form—has developed this concept across numerous artistic contexts and locations through a visionary and unique approach. Yuri, a contemporary calligrapher, has created numerous alphabets and developed calligraphic techniques that have influenced the contemporary lettering scene.
The Satatttvision collective, from which I come, has been a constant source of conceptual and technical inspiration, a place of dialogue and the birthplace of most of the ideas I have developed over the past ten years.
Finally, Francesco Vullo, an important artist and friend, has also been a significant influence.
Luca / My influences emerge from the intersection of landscape, art, and music, shaping an approach to design that combines observation, experimentation, and authenticity.
A central figure for me is Gilles Clément, who completely changed the way I look at nature. He taught me that designing is not about imposing a vision, but about interpreting processes that already exist. The aesthetic I seek stems from this idea: nature creates the most spontaneous and sincere form of art possible, and it is there that we find the highest source of inspiration. His belief that value lies in the act of making, rather than in the final result, guides my creative process.
Alongside him, Felipe Pantone represents an opening toward a freer visual language. His ability to move across different disciplines while maintaining a strong identity has particularly influenced me in my use of color and tone-on-tone gradients, which create depth and movement.
Another major influence is Hayao Miyazaki, for his ability to create immersive environments through drawing and storytelling, and for the power with which he conveys meaningful and necessary messages through art.
Finally, Mac Miller has inspired me through his creative freedom and the authenticity with which he expresses himself. It is an approach I feel close to: design as a sincere process, rather than simply a result.
Stefano / My primary sources of inspiration arise from the convergence of science, technology, and art. It is precisely in the fusion of these fields that I recognize the most fertile ground for innovation, where creativity is not merely aesthetic expression but becomes a tool for understanding and transforming reality.
Since childhood, the figure who has fascinated me most has been Leonardo da Vinci, a symbol of a boundless vision capable of harmoniously uniting art, engineering, and scientific curiosity. His multidisciplinary approach remains a fundamental reference in the way I think and design.
Alongside him, contemporary figures such as Zaha Hadid and Neri Oxman have inspired me through their ability to integrate biology, design, and advanced technologies. Likewise, Steve Jobs demonstrated how vision, simplicity, and attention to detail can redefine the relationship between humans and technology.
What unites these figures is their ability to transcend disciplinary boundaries, transforming intuition into tangible innovation. Their work has taught me that true progress emerges when technical expertise meets artistic sensitivity, and when observation of the world is translated into new design possibilities.
This approach guides every aspect of my work: exploring, cross-pollinating, and merging different languages to create solutions that are functional, forward-thinking, and deeply connected to the context in which they exist.
Which piece of art or design object would you place at the center of an exhibition?
Mindshapes / At the center of an exhibition, I would place an evocative work capable of creating a dialogue with the viewer and generating sensory interaction.
At this moment, I find the work of Francesco Vullo particularly compelling. His artworks are true generators of contemplative sensory states and dialogue. There is an atmosphere of illusion and suspended magic surrounding his creations; placing one at the center of a room would create a powerful magnetism, drawing in and captivating the viewer’s gaze. That is precisely the kind of magic I am referring to.
Luca / I would place Sky Mirror by Anish Kapoor.
It is a work that does not merely occupy space—it transforms it.
Placed within a garden, it becomes a threshold, almost a portal to another dimension, capable of overturning our perception of the surrounding environment. It amplifies perspective and compels us to see the landscape differently.
The idea of connecting the sky with the earth fascinates me deeply. It introduces an additional layer of interpretation and creates a gap between what is real and what is perceived.
I am equally drawn to its physical presence. When an object occupies space with such authority, it ceases to be merely an inserted element and becomes a point of reference that redefines everything around it. That is exactly the kind of intervention I seek—elements that do not simply exist within a space, but actively generate movement and transformation.
Stefano / For me, a work of art is not merely something to observe, but a means of opening a profound dialogue with those who encounter it.
If I had to choose an object to place at the center of an exhibition, I would opt for a work capable of actively engaging the viewer, leading them beyond passive observation toward a more conscious and participatory experience.
I am particularly drawn to introspective works—those capable of stimulating reflection and unexplored mental journeys, where every observer can discover their own interpretation and meaning.
Mindshapes / My goal is to create a harmonious relationship between people and nature, avoiding forced contrasts and instead seeking a fluid balance between what is built and what is organic. In this sense, I envision soft, natural forms, reflective surfaces, and plays of light that interact with the surrounding space. Mirrored organic surfaces distort and reinterpret the environment, generating optical effects that constantly shift according to the viewer’s perspective. This process does not return a fixed reality, but rather a dynamic perception capable of stimulating intuition, ideas, and new connections. The artwork thus becomes a tool for exploration: it does not impose meaning, but invites the viewer to seek it. Opening new perspectives for others is, for me, the greatest value art can offer. If it succeeds in generating even a single moment of awareness or a new idea, then it has fulfilled its purpose.
How does nature inspire your projects and lifestyle?
Mindshapes / Nature is the primordial source of inspiration—everything that vibrates, moves, and evolves through growth and decline, birth and death, in a constant wave that rises and falls, comes into being and fades away. I have lived many experiences in nature, from short excursions to journeys lasting several weeks, fully immersed in its rhythms and in contact with its sounds, shapes, star-filled nights, and days spent at sea among the waves. In all its forms, nature has been the mother of my interpretation of reality: through textures and patterns, movements and silhouettes, from marine to mountain ecosystems. Wherever nature manifests itself, there is a recurring formal structure, a fractal order that repeats itself—as above, so below; as within, so without. In this sense, the wave is the primordial element I perceive in nature: in the shadows left by the water on the shore, in the translucency of the sea, in the movement of the tides, in the profiles of mountains, in flowing rivers, and even in the steepest slopes.
Luca / Nature is my primary reference, the strongest and purest one. What fascinates me most is the way it creates compositions that evolve over time, guided by precise rhythms: seasons, cycles, and balances. It is a system in constant motion, often subtle and almost imperceptible, yet capable of expressing sudden and powerful force. It teaches me that a project is not something static, but something that must be able to change, adapt, and live. Everything else stems from this idea. I am interested in every scale: from the smallest detail hidden in the most unexpected place to vast open spaces that seem endless. From meadows to woodlands, every environment contains a potential design direction. I do not see nature merely as a source of inspiration, but as a system to observe and interpret. Every project begins there. It also directly influences my lifestyle: I need to spend time outdoors, immersed in these environments, in order to think and create. It is a necessity, not an accessory.
Stefano / My lifestyle and design approach are deeply influenced and inspired by the principle of biomimicry. In my daily work, I observe forms, microstructures, and balances found in natural ecosystems, seeking to translate them into more efficient, intelligent, and sustainable design solutions. Nature represents, for me, the greatest research laboratory ever created: an evolving system where every form serves a precise function and every detail is the result of a continuous process of optimization. This approach also shapes my way of life, leading me to seek a more conscious balance between technology, production, and the environment, with greater attention to simplicity, durability, and the impact of design choices.
Is there a recurring dream—or idea—that returns throughout your work?
Mindshapes / Countless dreams and ideas have resurfaced throughout the years, often guided by moments of profound balance, states of meditation, and a deep connection with nature and the environment that surrounds me. They emerge in the realm of ideas—dimensions of interconnectedness, harmony, peace, suspension, and equilibrium. The wave is both subject and tool, a model for analysis and interpretation, for interaction and evolutionary movement. It is within this context that the expressive needs of my art take shape. Here lies the recurring idea that forms the thread connecting the various works I have created over the years, expressed through countless techniques and visual art forms.
Luca / There is an image that often returns, more as a feeling than as a precise memory. It is a landscape I once experienced and that has stayed with me: an early morning, just after waking up in a mountain hut. I step outside alone, slip on my sandals, and walk toward a small nearby peak, with a tiny lake just below. I remember the warm light and the blue mountain sky filled with large white clouds. It is not a clearly defined dream, but a recurring sensation. Sometimes it transforms: the meadow becomes extraordinarily full of flowers, with tall blooms filling the space. What remains with me most strongly—and what inspires me the most—is the feeling itself. It is an image that continues to resurface and that, in one way or another, finds its way into my work and into what I consider my personal imagination.
Stefano / A specific idea often recurs throughout my work: bringing organic curves and natural forms into the objects we use every day. For the sake of manufacturing simplicity, we are accustomed to producing geometric, rigid, and standardized objects; my goal is to move beyond this limitation, transforming them into more natural forms capable of integrating harmoniously with their surroundings.
This research is not only aesthetic but also functional. Natural forms are the result of evolutionary processes optimized over time: every curve and every structure responds to a precise need. Applying these principles to design means developing objects that are more efficient, lighter, and better suited to their purpose. In my projects, I seek to reinterpret this language, using technology to make possible geometries that would once have been impossible or excessively complex to produce. The aim is to reduce the distance between the natural and the artificial, creating products that do not appear as foreign elements but as a natural extension of the spaces they inhabit. I believe design has the power to bring what we create closer to the language of nature.
Is there a fictional or fantastical scenario that reflects your artistic imagination?
Mindshapes / It is an imaginary dimension made up of interconnected worlds, rooms, and places, yet also characterized by formal purity, strong contrasts, and vast open spaces where suspended artworks, installations, and voids engage in dialogue, allowing room for movement, contemplation, and imagination. Natural forms alternate within a series of modular architectural compositions, creating truly dreamlike atmospheres—a state of dreaming.
Above all, the universe is my greatest source of inspiration. Quantum entanglement and our cosmic perception of the space around us represent the most tangible expression of this fantastical scenario, where macro forms become containers for micro forms, within fractal systems and pure, simple, essential shapes.
Luca / My imagination does not arise from a single scenario, but from the way I construct space and, above all, from the place where I find myself. It takes shape through arboreal compositions that can vary greatly: sometimes based on a single species, sometimes on multiple varieties, but always with a precise intention behind their arrangement, forms, and selection. Nothing is accidental.
Everything must convey a message; it must continue a dialogue that the site itself often already initiates. I believe that space is never neutral—it already contains tensions and balances. Design begins the moment these are transformed into something legible. For this reason, my imagination is not tied to a fixed image but to a way of intervening that changes according to the context. It is a synthesis of all the influences I carry with me: nature, landscape, art, and design. An open system that continuously adapts and transforms. The ability to adapt is something we learn by observing nature.
Stefano / I imagine a world in which objects, architecture, and technology speak the same language as nature. A scenario where forms are not rigid and geometric, but organic, fluid, and perfectly integrated with their surroundings. I envision spaces where what is built does not impose itself upon the landscape but emerges from it, as though it were the result of a natural process of growth.
Within this context, natural patterns play a fundamental role: structures and geometries that, interacting with light, generate visual effects that are constantly changing and never static. This complexity is not random, but deeply functional. I believe that the artificial environments we are accustomed to—often angular, uniform, and neutral—contribute to the distractions of everyday life.
On the contrary, the visual processing of natural structures—rich in variation and depth—encourages greater concentration and a deeper connection with space. Surfaces, sometimes reflective, amplify this dialogue between light and form, transforming the environment into something dynamic and alive. The observer does not merely look, but enters into a relationship with the space, becoming an active part of it. It is a scenario in which innovation and nature are not in opposition, but evolve together. Technology becomes a tool to interpret and make these principles manufacturable, creating a balance between design, function, and landscape.
At Orticolario 2026.
What emotion or sensation do you hope people feel when encountering your work?
Mindshapes / The hope is to generate a sense of harmony, peace, and calm. An immersion in the work. The observer is not merely a spectator but experiences the piece firsthand, walking around it, stepping onto platforms, seeing themselves reflected toward the sky through mirrored surfaces, and leaving space for contemplation. At the center of this journey lies a fundamental principle: empowering the observer. It is the gaze of the observer that brings the narrative of the work to life. The work is born from its creator, but it belongs to those who experience it. Offering a visual input from the source means opening a space for inner dialogue. In this encounter arises the possibility of imagining, visualizing, and rediscovering a more intimate relationship with oneself—a dimension often overlooked.
Luca / I would like the installation to spark curiosity, to draw people closer, and to make them ask questions. The waterfall is the central point. It must generate abstraction, push toward a dreamlike dimension, and draw the audience into the space. I want it to create curiosity, to be observed up close, in detail. I want the tropical plants to bring people back down to earth, to encourage questions and the search for answers within the installation. The flowering meadow is a transition. It serves to slow things down, to shift attention toward details, and to create a passage between the two dimensions. It is a space to be crossed, to be read, to provoke reflection. All these sensations come from nature and find their answers within it.
Stefano / I hope the first feeling is wonder, followed by a deeper form of introspection. I would like the observer to be initially drawn in by forms and light, and then to slow down and begin to observe more consciously what surrounds them. Reflective organic surfaces play a central role in this experience: they distort reflections, fragment and reinterpret the environment, returning images that are never fully defined. In this way, what is observed is not only the external space, but also a new perception of oneself within it. The work thus becomes a meeting point between individual, nature, and the built environment. Through the interaction of forms, light, and optical effects, my aim is to stimulate a deeper reflection on the relationship between human-made works and the natural environment—not as opposing elements, but as parts of a single balanced system. I want to create an experience that does not end with visual impact, but leaves a trace: a doubt, an intuition, or a new awareness. If even for a moment the observer pauses to see the world with different eyes, then the work has achieved its purpose.
If your project were a musical track, which would it be?
Mindshapes / “Echoes” by Pink Floyd
Luca / “I Swear, I Really Wanted to Make a ‘Rap’ Album but This Is Literally the Way the Wind Blew Me This Time” by André 3000, from the album New Blue Sun
Stefano / If my project were a musical track, it would be a contemplative and experimental composition, capable of combining harmony and tension in a dynamic balance.
Five words you closely associate with the concepts of dream and illusion
Mindshapes / Wave, universe, dimension, frequency, source.
Luca / Introspection, contact, undergrowth, movement, transition.
Stefano / Reflections, mutations, fluidity, desire, introspection.
[BIO]
Mindshapes (1997) was born in Legnano.
A visual artist, since 2015 he has been exploring the world of waves as a source of reality, creating works that harmonize art and design.
[BIO]
Luca Meraviglia – Lume Studio (1999) was born in Rho.
After studying architecture, he turned toward landscape design. He trained at Minoprio and works across installations, events, and gardens.
[BIO]
Ste
Stefano Turconi (1997) was born in Busto Arsizio.
In 2018 he discovered 3D printing and CAD modeling, deepening his work in design and product industrialization. In 2019 he founded Totum 3D to develop his passions.
“In every form it takes, nature has been the mother of my interpretation of reality—through textures and patterns, movements and profiles, from marine to mountain ecosystems. In every way nature manifests itself, there is a formal recurrence, a fractal structure that repeats itself as above, so below; as within, so without.” – Mindshapes
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“The project is not something static, but something that must be able to change, adapt, and live. From here everything else is born. I am interested in every scale: from the smallest detail in the most unexpected point to open spaces that seem to have no end. From meadows to the undergrowth, every environment contains a possible design direction.” – Luca
//
“For me, nature represents the greatest research laboratory that has ever existed: a system evolved over time, where every form responds to a precise function and every detail is the result of a continuous process of optimization.” – Stefano