FOOD FOR THOUGHT, 2024

Food for Thought portrays food-related idioms in their literal meaning, through the use of pop colors and patterns. This project aims to highlight how food is not only a basic necessity of life, but it is also a part of intangible cultural heritage as well as foundation of social encounters. So much so that it is now entangled in our thoughts and conversations on a daily basis, in its multiplicity of connotations.

CICA, 2022

Cica is a series of digital artworks that use the same figure as foundation to the various environments that are constructed around it. The individual images aim to work as a collective, as well as to stand alone.

BEHIND THE COUNTER, 2022

Behind the Counter is a series of eight moving images depicting professions that occur, as suggested in the title, behind a counter. Each piece makes use of a hybrid character, portraying each scenario in an ironic and ridicule manner.

LE MIROIR MENTEUR, 2022

Le Miroir Menteur aims to portray the process of disconnecting from one's thoughts, feelings, or sense of identity when encountered with their own mirrored reflection. The exaggerated features ultimately illustrate the ease with which one sees their own body mould, magnify, or melt, as they search for themselves within a deceitful mirror. The series was also inspired by a poem from Octavio Paz’s collections:
“Beyond myself, somewhere, I wait for my arrival.”

MISPLACED, 2022

Misplaced highlights the objectification of women by juxtaposing parts of common objects to nude women, whose faces are covered, and whose bodies look delicate and harmonious despite their forced and painful positions. Each image has been developed as if part of an advertising campaign, as if each body is an ordinary product.

DOT, 2021

Dot illustrates the desire of falling. Isn’t it scary to think that, sometimes, it is what brings us closer to death that makes us feel alive? What makes us human is the ability of understanding that the only certainty in life is death. Of course one can argue that there are far greater, or rather optimistic, means through which one can feel like they’re living and not just surviving. Like love, for instance. But can we not claim then that love can only exist where there is fear (of disappointment, of loss, of melancholy)? Because when we do fall in love, it is in that moment that our emotions inevitably lose their independence. Whether they now rely on a parent, a sister, a lover, or a friend. I guess that’s why we don’t jump or simply walk in love.
But do we have to fall to be in love?

REFLECTIONS OF SELF, 2021

Reflections of Self depicts the prevailing characteristics of each portrayed subject, through the use of a semi-transparent panel. From left to right: “the pessimist,” “the forsaken,” “the dreamer,”
“the vain,” and “the ambivalent.”

BIRD OF PASSAGE, 2021

Bird of Passage illustrates the journey undertaken by he who traverses the streets of a city or landscape as an observer of contemporary life, or as Baudelaire once wrote, as “a person who walks the city in order to experience it.” The series ultimately aims to encourage individuals to embrace the unknown, and to move away from the fear of feeling lost or alone.

NAKED, 2021

Naked explores the dark underbelly of what we perceive as perfection. The title aims to underline not only the literal meaning of the term, but also the more philosophical one, where each barbie doll is stripped of their perfect behaviors. The images play with the concept of real and fake, by including realistic elements within a staged and constructed scenography. It was important for the artist to physically create each setting in its miniature aspect.

STRANDED, 2021

Stranded is a series composed of three pieces that follow the art of making and collaging. Through the use of mixed media, such as paper, paint, markers, and tape, the images are manipulated and distorted in a more handcrafted and organic manner, giving them texture and depth as well as highlighting the multiplicity of layers that are wrapped around a feeling or emotion.

Scomoda, 2021

Scomoda explores feelings of discomfort and dissatisfaction, and how it is what consumes the mind that controls the life. How it is impossible for one to feel safe, happy, or right when their own body, seemingly unfamiliar and distant, is uncomfortable to live in. 

how wanting interrupts being, 2021

How Wanting Interrupts Being aims to convey our innermost desire to conform or adhere to what surrounds us. We often do this instinctively, and try to blend in with people, places, and things that are unlike us in nature, form, or thought. The series, therefore, illustrates the inevitable dissonance that exists within our abiding desire to fit in, ultimately suggesting an acceptance and appreciation of oneself, in body and in mind.

GIACOMETTI REVISITED, 2020

Giacometti Revisited was created with the intention of exploring clay in the art of sculpture, through a study of equilibrium and gravity. In its fine and elongated aspect, the sculpture is able to maintain its verticality with the help of a metal rod, fixed at the core of the character’s bust and at its feet, hidden within
one of its limbs.

FRACTURED, 2019

Fractured is a three-image series that uses a glass cuboid to illustrate a fragmentation within the same visage and expression. The magnifying, shattered, and reflective characteristics of the transparent cuboid interact with the background entity, by playing with its features to ultimately displace or rearrange them.

FREEZE, 2019

Freeze conceptually narrates the story of an individual who is frozen as well as trapped within its boundless and infinite unconscious mind. The latter extensively takes over the physical body, holding it captive in its clouded and blurred characteristics.

CAUGHT, 2019

Caught presents four close-up images of the lower section of the face, seemingly caught and compressed. This effect was created by pressing the skin onto plexiglass, allowing the latter to distort and deform spontaneously. Presented in film slides is its dissection, exploring the dark sides of life, nihilism, existentialism, longing and loneliness, juxtaposed with fragile beauty.

THE DROWNING OF SHAPES AND FORMS, 2019

The Drowning of Shapes and Forms plays with water’s attributes to enlarge, flip, or remove specific facial features to ultimately produce and create an alternative version of the human visage as we know it.

flume, 2018

Flume is a sculptural series that respectively uses wire and nylon as its skeleton and skin, to replicate and petrify smoke spirals through a minimalist approach. The sculptures were inspired by a piece of creative writing produced in the artist’s first language, that narrates the nostalgia of a lost love by comparing the cohesion and harmony between two people to the continuous interweaving of spirals of smoke.

“Sono distesa sul pavimento mentre osservo le spirali di fumo abbracciarsi, avvolgendosi l’una intorno all’altra per un breve istante,
prima di separarsi e dirigersi verso l’oblio; verso l’assenza di ogni cosa, verso l’assoluta mancanza di realtà.
Il calore del sole mi accarezza la pelle, discretamente illuminando il chiaro strato di peli leggeri, morbidi e sottili, diffusi sulla cute del mio viso.
E mentre soffoco la sigaretta penso ai giorni che scorrono, ininterrottamente.
Spesso mi accorgo che, effettivamente, passano, ma solo dalla polvere che sempre più si accumula negli angoli della casa,
rivelando quanto tutto il resto rimanga sempre uguale, come se immutabile.
A volte vorrei chiamarti, per sentirmi dire che ti manco allo stesso modo in cui tu manchi a me.
Ma anche noi, come le spirali di fumo, ci siamo abbracciati seppur consapevoli dell’effimerità del nostro abbraccio. E mi chiedo;
anche tu, come me e loro, ti dirigi verso l’oblio? O solo io, in tua assenza, mi sento persa?”

escape, 2017

Escape is a sculptural piece in bas-relief inspired by artist Daniel Arsham, who embodies the idea of engulfing and enclosing a humanly figure within a white surface. The piece focuses on individuals’ desire yet inability of escaping their insecurities, represented by the white elastic fabric covering the polyester figure glued to the wooden canvas. Depth, space, and dimension are dominant elements and principles of design within the work.

WHERE ARE WE?, 2016

Where Are We? is a selection of burnt photographic paper, that investigates the reaction and interaction between fire and film. It is the movement performed in the conversation between fire and film that determines the shapes and forms that emerge from the surface, as well as their color. In its abstract forms Where Are We? questions the purpose behind our existence as human beings and the mystifying infinity of the universe.

FAME, 2016

Fame is developed through the use of chalk and blackboard paint, approaching the concept of chiaroscuro in terms of negative space. The double entendre in the title creates a strong contrast between its English definition and its translation from Italian: “hunger.” Touching upon world hunger, this piece shines light upon sub-Saharan Africa, where 28 million children are experiencing stunted growth due to malnutrition. Stunting prevents children from developing to their full potential both mentally and physically, as well as it is largely irreversible. The easiness through which chalk can be removed or simply blown away from its black surface underlines the frailty and vulnerability that lies behind the issue at hand.

TRAPPED, 2016

Trapped explores the interrelation between the canvas and pencil, as the former gives texture and depth to the figures represented. The series was initially created as a study and prototype of Escape, a sculptural work that was developed and produced the following year. At a later stage, however, Trapped evolved into a finished piece.