The spiritual nature of the metaphor shows how the artichoke relates to my understanding of myself as a spiritual being experiencing life as a human.

Artichoke #4

As part of the artichoke series, this piece specifically explores the overlapping nature of the leaves and how that can be used to understand personality.

Artichoke #1

Part of the Artichoke series - exploring the internal landscape through metaphor

Artichoke #5

Commission for Carole print on Gold Metal, 3d touch.

Perspectives

Commission for Francesco print on Metal, 3d touch.

The One

Commission for Eleonora print on Metal, 3d touch.

New Born

Commission for Roberto print on Metal, 3d touch.

Good Boy

Commission for Nicolas print on Metal, 3d touch.

Peace

Commission for Alessia print on Metal, 3d touch.

Weightless

A top view of Urginia reveals that not all of its bulbous parts are visible, as many are hidden underground. The only indication that life exists below the surface is when a flower stalk emerges from the ground. In the spring, Urginia produces strap-like leaves.

Urginia in Crete

""Urginia in Crete" is a mixed painting that is part of a small arrangement I created exploring the arid landscape of the island of Crete in late fall. I was captivated by the flowers that seem to emerge unexpectedly from the ground. Their tiny bright white flowers contrast beautifully with the surrounding red dirt, and they appear to thrive in an area that seems barren, except for goats and scrubby bushes.

  

A delicate drawing featuring three spherical flowers with slender stems and leaves. The colors are predominantly soft shades of green and yellow, creating a gentle and minimalistic composition. The flowers are depicted with fine lines and subtle shading, adding an ethereal quality to the piece. Craspedia delights the child parts of my personality.

Craspedia Arrangement

"Coral and Seeds" is a small 5"x5" watercolor and gel pen artwork. It shows a triangular stone on a light surface and a dried seed pod next to it in various states of decay. 

Coral and Seed

The artwork depicts leaves in various shades of gray, accented with highlights of blue and green. Soft lines give the leaves a gentle, airy quality. The simple background enhances their shape. Inspired by a personal Valentine's moment, this piece reflects my appreciation for how beautiful things can change shape over time while remaining captivating.

  

Valentine's

Glossy smiles and lives lived behind a perfect filter. The bewitching charm of a society constantly exhibited under the blinding light of the spotlights. I will become famous, I will be the most loved diva, the world at my feet. Fallen angels, angels ready to compromise, deluded of glory put on display while waiting for dreams to come true. Promised paradises and sparkling carpets of stars to walk on, pink lady mouths and sensual movements. Day after day, suspended in an eternal, ephemeral limbo as long as illusory vibrations of happiness survive. Yet Sunset Boulevard is nothing more than the "viale del tramonto".

Los Angeles

In the cycle of "Terrae" pictorial canvases are reproduced in raw clay. Iconography is the object itself, image and absence coexist in a simulacrum of living and primordial matter.
Fragility is theme and subject, the emptiness of the image is filled by the poor substance of matter. The desire for painting finds a human perspective in its relationship with the earth and the cosmos. 

FRAGILIS TERRAE

Canvases in ceramic plaster and graphite belong to the Animula vagula blandula cycle, title taken from one of the chapters of the novel Memoirs of Hadrian by the great writer Marguerite Yourcenar inspired by an intense poetic composition by the great Emperor. Drawing, Painting, Sculpture get confused, they talk to us about the origin of visual language and the impossibility of forcing it into a definition. Of the vagueness of concepts and feelings and of the permanence of Art.
The images are the result of an involuntary process that denied the control of the outcomes. 

ANIMULA VAGULA BLANDULA

In the cyc!e of the "Poussière" the painting finds the light and slow time of the technique, but pro­ceeds towards the cancellation, engaged in its own undoing. It stops on the threshold of absence, inviting us to contemplate it, emphasizing the ability of painting, the painter and the model, to enter the depths of the human soul in a mutua! and incessant exchange. 
On the canvas the subject affirms the need to grasp the value of the voids of shadow and the emerging lights, a sublimated space interposed to the sensitive gaze towards his visual source. The ashen monochrome as a naked bare of existence. 

POUSSIÈRE - YOUNG MAN LOOKING AT HIMSELF WITH LORENZO LOTTO

POUSSIÈRE - FAR

New pictorial cycle whose name derives from the particular materials used and composed: handmade papers according to ancient procedures and "painted" with pollen, raw clay and graphite. The collage that makes up the visual structure through superimposed geometric patterns is the result of a thoughtful search for relationships between the parts, individual universes defined by the fertile matter of pure bee pollen and the anthropological and poor matter of inert earth. Graphite as the primary element of the graphic sign that originates the expressive act, determines, by contaminating the earth in different quantitative proportions, the dialectic and the light-shadow metric. The outcome is always the result of a concentration of thought that seeks interior accords as in the silent whisper of a prayer.

BOOK OF HOURS (SPIRITUAL EXERCISES)

In the cycle of the "Aporias" the works are presented to the look as unsolved, saturated hourglasses, for an immeasurable restrained time, in which the glass retains the bee pollen dust from its own generative dispersion. A vague semblance constitutes the threshold of a dramatic tension between light and shadow. Iconic evocations linger in the slit that separates the loss of enlightened thought from the need to arouse it. The artificial dust of the fusion of ceramic ink on glass and the natural dust of bee pollen accentuate the life-death relationship and the need for a spiritual longing.

Memento - Aporia

In the cycle of the "Aporias" the works are presented to the look as unsolved, saturated hourglasses, for an immeasurable restrained time, in which the glass retains the bee pollen dust from its own generative dispersion. A vague semblance constitutes the threshold of a dramatic tension between light and shadow. Iconic evocations linger in the slit that separates the loss of enlightened thought from the need to arouse it. The artificial dust of the fusion of ceramic ink on glass and the natural dust of bee pollen accentuate the life-death relationship and the need for a spiritual longing.  

Melancolia - Aporia

The artwork wants to describe that what makes us human is not represented only by our attitudes and abilities, but also and above all by our weaknesses and imperfections. When we fight against our shadows the mind creates ideals of existence and life tending to the utopian beauty of perfection to try to dream, to believe in something better. Identity, self-concept, models of love, ways of being, we go through life in search of relationships to solve the most intimate deficiencies deposited in the soul. We transform others into superheroes, idealizing them, exaggerating their virtues and diminishing our qualities to see the value of “perfection” reflected in others. It is at a certain point that our psyche reaches a bitter and disappointing border, the frustration of seeing how things really are. You had drawn, thought, imagined your Hero perfect, right?

DON’T BELIEVE IN SUPERHEROES

the melting emblem

Mixed media on canvas
356 x 160 cm
January 2020



Landscape's idea with snake

I started working on EdiTidE after the dramatic tides of November the 12th 2019, which affected the community both from an emotional and economical standpoint.
My goal was to describe the beauty of this delicate area, and all the environmental crisis in a dynamic and interrelated way.

EdiTidE is a Max based interactive audio installation whose components are built starting from the 8 harmonic oscillations that compose the sine wave describing the tide movements in Venice.
The sounds and rhythms come all from that sine, while the concrete audio samples are the sounds of workers and people in Venice the week after the Tide.
EdiTidE automatically downloads weather, pressure, wind, temperature, precipitations, humidity, visibility and tide datas fom the web, it calculates moon phases, sunset and sundown. All the datas ineract with each other and through a camera with the movement of the observers in logic ways. Due to the complexity of the system and the cross-connections between all the elements (each element has a direct impact on sound but many indirect influences on  the representation of all the set of datas), its behaviour has a wide range of variability. 
Like in a miniature of a complex ecosystem, the observer is an actor who's able to guess the outcome of his actions only up to a certain extent. 
EdiTidE plays with the tidal wave through harmonic beats, pads, but also develops a self generated musical discourse in progressive sequences of pitches based on major modes at day and minor modes at night, which makes it half an installation and half an interactive instrument. Musicians can play over it, and it can be directly played (once disconnected to external data systems) throug a midi pad. In an extended way, it is being played by everybody in the planet through our footprints on earth's environment.

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