For Tiziano, the sculpture is a true vocation passion which goes up with childhood. It grows and evolves/moves within the workshops of sculpture of his father and his godfather, both originating in Venezia, cradle of the Italian art of Quattrocento.
With the thirteen years age, it carries out its first work and decides to devote its life to the stone and the marble.
The artist then endeavours to perfect and look further into his knowledge in drawing, painting and another modelling by attending with assiduity the Academy Higher of Grasse the Art schools Anca Sonia, of Camos with Vallauris and that of Jacques Raybaud foundry foreman in the Batch and the Garonne.
Tiziano often goes to Italy to Tuscany, in particular in Carrare, in the white marble careers, universally considered, to choose its blocks there.
The also affectionate artist marbles of color. Finally it is not far from there, in Pietrasanta that Tiziano makes carry out its bronzes.
Wishing to share his passion and to transmit his knowledge, the artist gives for some time already, of the courses of sculpture to pupils of all ages which appreciate its direction of pedagogy and its availability.
Lastly, the town of Fatty calls upon competences of the artist for the organization of the international Symposium of sculpture which proceeds in its walls.
Today, the natural evolution of its spirit and its works makes it possible Tiziano to find the original form of the model, by removing the superfluous details and by preserving a scientist balances between the imaginary one and realism.
This aesthetic research goes hand in hand with an at the same time meticulous and refined technique. The artist uses a sometimes abstract language, sometimes figurative to treat his favorite topics.
Very continuously to use the marble, the stone, bronze, the sculptor jointly employs more modern materials such as the metal whose possibilities seem infinite.
Its voyages in Asia inspired to him certain works impressed at the same time of force, serenity and meditation.
The sculptures of Tiziano, sometimes monumental outside find their full significance where they can grant their rate/rhythm to that of an architecture or a landscape.