My pictorial practice explores the way we construct, perceive, and inhabit reality. I create worlds where human figures, architectures, organic forms, technological patterns, and landscapes meet, freely borrowing from science, literature, mythologies, and my intimate environment.
Each series is born from a different protocol. I have thus designed spaces where characters, architectures, and patterns circulate from one canvas to another, in a reflection inspired by the cosmological hypothesis of a boundless universe. With Latium, pareidolia becomes a tool for deconditioning: stains deposited on the surface are left suspended until forms emerge, then develop into hybrid organisms, freed from ordinary anatomies and physical laws. In The Empyreans, this research shifts towards the intimate: childhood photographs of my loved ones become masked allegorical portraits, where objects, animals, and landscapes compose a symbolic map of their identity.
From one series to another, I seek to produce devices capable of outsmarting my own automatism and shifting the boundaries between the real and the imaginary, the individual and the collective, memory and projection. Painting becomes less the representation of a world than the space where it can continually recombine.
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