Dear Betta,

I see the objects I use for the creation of my work as a sort of “vocabulary of feelings”. Every object in fact holds in itself a sensation, a past, memories.

My art intuitively explores the various paths of feminine consciousness, it examines the feminine forum, the role of a woman, her relation with her own sex as well as the opposite one, my indissoluble link with nature and sexuality in general.

By recycling and superimposing various objects temporarily forgotten, objects without any apparent value, my purpose becomes to transform them in order to give them a new meaning and placing them in a new sphere of reminiscence.

The process of re-utilization of these objects develops itself in a rational and methodical fashion, but also in a purely instinctive, intimate, and visceral manner as if this act was filtered at a sub-conscious level.

Regarding the artistic evolution of my craft in relation of the “Cronos”, thus of time, to the passing of years. I must say that from 2007 to the present day, there were stages of artistic context. From 2007 my art works have been strongly linked to nature, the subject here finds itself surrounded by the presence of generative forces of life, while from 2009 on I started seeing the feminine subject inside of architectural structures, partially realistic, but anyhow linked to the dream part of a partial, atypical reality. I reckon that this moving from one context of nature to another architectural context may be due to the fact that I moved from Italy to NYC, where the presence of “man-made” things is more relevant than the presence of nature.

I hope to continue producing art through ulterior passages and other states of mind, but without ever losing sight of the other purpose of art which is to create something beautiful and significant in order to be able to share it with as many people as possible.

In the last four years I have also worked as a set designer, creating a large number of collages for the sets of three different theatre shows (2009-2010) “Dante’s Divina Commedia/Inferno” shown  at the HERE Art Centre” in New York, and at the Fringe Theatre Festival of Prague; 2011 Oscar Wilde’s Salomé shown at the Flea Theatre of New York, 2013 Charles Ponzi, A Dollar and a Scheme shown at the New York Theatre Workshop and at Ney York Solo Theatre Festival. In this case I worked on commission from the theatre producers, and in spite of the fact that in these cases you forego the power to decide exactly what to work on, given the nature of the shows in question, I was able to create my pieces without distancing myself too much from my favourite themes. Furthermore, I was given carte blanche: the right to choose freely without restrictions all set designs.

In all three shows, my creations were projected on a giant screen, and where the only visible set piece on the stage.

The first series, created for a monologue of the Divina Commedia, showed the various parts of Dante’s journey through hell. The second series describes the voluptuous and complex soul of Princess Salomé. The third one follows the various stages of Charles Ponzi’s (the financial criminal of the twenties) life.

These works created for the theatre received excellent reviews in the main American media, among which The New York Times, that described my Salomé collage as “very evocative, organic, and mystic” ; Time Out, Backstage, New, and

At present, I am working on my fourth theatrical series for a production of “Lulu” by Franz Wedekind which will premiere on May 1st 2014 in Montreal, commissioned by the Canadian Theatrical Company “Compagnie de la Lettre Cinq”. Later on I will work on a series about life and death for a stage show based on the “Tibetan Book of the Dead” that will take place at the Flea Theatre in NYC in 2015.


New York, January 9, 2014