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Born in Italy and spent 8 years living in San Francisco, California. Today I split my time between Los Angeles and Milan.
My use of color is deeply influenced by The Bay Area Figurative Movement, especially Richard Diebenkorn.
At the same time still life compositions for me are a perfect bridge between figurative and abstraction, following the tradition of the great Italian painter Giorgio Morandi.
Using everyday life objects such as Tupperware, an iron, a washing machine or an Ikea dish rack, I focus on those housekeeping tasks we often carry out without being fully present. We live most of our lives in a semi-unconscious state, carrying out repetitive tasks (cleaning clothes) and repeating actions (scrolling) that are emptied out of meaning. This particular human condition is intensified with social media and the stream of constant entertainment that “fills” our time.
My still-lifes aim to become complex emotional landscapes. I paint the mundane and elevate it painting with oil on linen. I charge the ordinary with the power of my emotions, dreams and cultural references. I often reflect on time in my work using transparencies and scraping layers of paint or moving objects around so that the process of ‘making’ becomes more important than the final image.
My use of color is deeply influenced by The Bay Area Figurative Movement, especially Richard Diebenkorn.
At the same time still life compositions for me are a perfect bridge between figurative and abstraction, following the tradition of the great Italian painter Giorgio Morandi.
Using everyday life objects such as Tupperware, an iron, a washing machine or an Ikea dish rack, I focus on those housekeeping tasks we often carry out without being fully present. We live most of our lives in a semi-unconscious state, carrying out repetitive tasks (cleaning clothes) and repeating actions (scrolling) that are emptied out of meaning. This particular human condition is intensified with social media and the stream of constant entertainment that “fills” our time.
My still-lifes aim to become complex emotional landscapes. I paint the mundane and elevate it painting with oil on linen. I charge the ordinary with the power of my emotions, dreams and cultural references. I often reflect on time in my work using transparencies and scraping layers of paint or moving objects around so that the process of ‘making’ becomes more important than the final image.
