The Easypop project combines academic studies and self-taught natural talent. It gets the best of more distinct paths and this is then merged into a very personal vision-synthesis that contaminates the Japanese mecha with classical art, Greco-Roman art with Baroque, politics with sociology and current events; pop art with conceptual art. In short, from Jeeg Robot to Donald Trump. A themed journey starting from the Heroes series, which includes the portrait of the gunman-outlaw Jigen, Actarus, the romantic Goldrake's pilot, Oscar heroines and Renzi, the Tiger man, Capitan Harlock, all emblematic of the Easypop thinking. The icon is "scratched" as is the "street" language, as well as the same coexistence of image and Ietters suggest the pop art of the 60s and 70s — think of Schifano and Lichtenstein.

In generational terms, the reference can only be of Japanese derivation, a school which has conditioned the youth imagination of the past 40 years.

That's why the trait is fragmented, as is the memory. The Heroes lettering is partially deleted. Questions arise: does adulthood no longer believe in heroes? Or in imagination? The proposal continues in the iconoclastic "More art less … cocoa".

On the one hand the stylistic rigour that is close to hyperrealism, on the other hand, playing on assonances, it represents a discreet (but not too much) invitation to come back to conceiving art as a gesture. Because if it is true, like Manzoni said, that contemporary art is aII … "sh" … it does not necessarily mean that "sh…" becomes art. On the contrary, it is necessary to focus the artist's intention. The artist's shit in no way is similar to the "mechanical" process, which is precisely the artistic creation, and yet Easypop tells us that the key factor is just the fact of having thought about it. Manzoni did it, the others didn't.

Thus, the provocation is twofold: on the one hand there is an enormous doubt about Manzoni's dialectic passion, that is: to what extent it is such, and where does plain cunning begin?