Location: Italy
I was born and grew up in Ancona, Italy, and from there I began traveling, driven by a growing interest in art galleries, museums, and the many places where images take shape.
Before dedicating myself fully to visual art, I spent years navigating the sea — an experience that shaped my sense of space, movement, and horizon. That time on the water sharpened my attention to light, distance, and the quiet rhythm of travel, elements that continue to influence my artistic language.
Over the years, my practice has evolved through observation, experimentation, and a constant dialogue with the environments I inhabit. I draw inspiration from everyday movement, urban spaces, and the subtle narratives hidden in ordinary scenes. My work often reflects a blend of curiosity, playfulness, and structural clarity, shaped by both my travels and my personal search for visual language.
Today, I continue to explore new forms and techniques, allowing my style to grow organically while remaining rooted in the spontaneity and freedom that first led me to art.
The scene is created, the title is what you smile inside, like lakes that generally holds there levels.
It was prepared for the covid contest,
The idea was to show a way out of a circuit of existence that seemed to be closing its doors on us. If the viewer stands at the center of the labyrinth, they notice that by following the only possible path, they will eventually find themselves outside. It is, if you will, the show without having to explain the trick — the essence of a labyrinth. It was meant to express an optimistic logic.
This portfolio contains works that I believe can convey my digital drawing style. The choice of pixelation, where visible, is a clear reference to the origins of digital drawing from across the Atlantic, the United States of America — a reformulated kind of New Neoclassicism.
I tried to let the smiles emerge from a central perspective; they must start there and then stick to the viewer’s face — hence the choice of the large format.
They must be unsettling — the smiles should almost ask the viewer why.
Creating this artwork was both exciting and surprisingly effortless. The reference to one of the fathers of Pop Art, Andy Warhol, is immediate. I dedicated this piece to him, imagining him intrigued by how his spirit has influenced my way of drawing: no explanations, just his mobile, curious, inexhaustible initiative.
Here, pixelation becomes a gesture — a way to show myself, and ideally his children, how his language continues to evolve. A way to reveal how his creation transforms, moves through time, and finds new forms.
Here, the world turns inside my small garden. I live in Ravenna, where mobility revolves around bicycles. You can sense an open, free space defined by flat land and red soil, with trees suggesting movement along a straight road. The sky follows its own interests — planets, stars, and spacecraft — while the human figure chooses to ride a bicycle, heading toward it.
I placed the individual in front of a choice, building a wall behind them to “force” them to move forward along their path. They face a bright green climbing plant that can be scaled with ease, and a dark ascent that I intentionally made difficult through its color. Which path will the viewer choose when looking at this artwork?
The boats leave the harbor, depicted as a warm‑colored window, with their sails in the wind. They head to the right, following the many paths of the deep blue sea, toward a finite horizon marked by lively green bamboo reeds.
“il labirinto”
“Smile”
“pepsi pop”
“Via terrestre”
“Infinito”
“Crociere”
