‘There used to be a statue of a rooster there. Then they took it down’. Of all the things Luca told me about Altidona that evening, the brief story of the rooster on the town walls didn’t seem particularly significant.
Yet it is from this minor story that the project takes shape.

I am fascinated by the biological complexity of nature: a dense network of interconnected relationships, almost imperceptible.
I try to distill them by altering material, color, and scale, to highlight the elements that sustain the whole—those to which we are inevitably connected.

The song can only be heard in full when those who recorded it come together to play it as one. The work is made of fragments—an invitation to potential unity. It is up to those who live in the real world to reunite them, to make imagination a practice.

I think of artistic practice as a mediumistic one: through one's own body, or through the body of the work, it becomes possible to channel someone else’s voice? What does it mean to embody an other’s voice? In my recent work, I explore the power of silence and other forms of nonverbal communication used as practices of resistance.

When I paint, I move like a tomb raider: I explore the surface in the hope of uncovering something precious. I’m fascinated by the idea of searching without knowing exactly what I’m looking for — and what could be more wonderful than discovering a treasure?

Pietra Comune is a contemporary menhir, an incorruptible threshold of the present time. An artificial fossil that holds intimate traces of the inhabitants, it is clad with surfaces from the seven hamlets of Tarzo: a mysterious archive and an abstract portrait of the territory and the lives that inhabit it.

A foot meets a ball and kicks it forward. A gate is opened. A meeting of one form with another to incite movement. It is a prospect. There is an oscillating position that is always almost touching. Space is filled and then emptied, and the enduring land holds these shifts of passing and purpose.

The arm that once held you like an ancient arch now bears the weight of time and life. Around you, nature whispers, cradling you in breath and bloom, nurturing your silence with ceaseless care.

The feeling of the mountain and the community, together with listening to my inner voice. Woods, streams, rocks, stories of past and present times, the tenderness of a small community, a sense of openness and adventure: this is how the idea for this project germinated.

I’m drawn to what lingers at the edge of disappearance, traces left in water, in soil, in gestures. This installation is a way of tracing these fading imprints and making them visible again, if only briefly.

Every centimeter of lithic matter is a land registry parcel capable of revealing its own presence in eras devoid of human presence—eras preceding the 'I think.' The artwork, with its multitude of perforations, seeks to lead us into the subtracted space, into the volume removed and repositioned—a bridge between stone memory and human memory.

This door is not merely a passage to escape our world but a threshold to create a new one. It evokes our shared history, transcending the upheavals and conflicts of our time, poetically reaffirming our potential for connection and renewal.

The depiction of stray dogs goes beyond mere documentation. Its poetic dimension invites reflection on predatory instincts, the animal within the human and the human within the animal. It becomes a story of oppression, tolerance, shared space, and even, to some extent, gender roles.

My work focuses on the production of photographic images that oscillate between fiction and reality. Landscapes and figures from my memories are transformed into works interwoven with recurring themes in my practice, such as identity and popular culture.

An open-air sound installation and performance, where frogs, voices, and ceramics echo through ancient ruins, inviting a collective reconnection with water, memory, and the cyclical rhythms of the land.

Nuù is a project that weaves together collective memory, landscape, and poetry in a symbolic knot. A living archive born of listening, it offers a sonic portrait of Burcei—shaped by voices, stone, and the breath of the surrounding nature.

We explore images through practices of appropriation and re-signification, always seeking to maintain an ironic gaze.
We shifted our view beyond the border (and the tower) using a binocular to look far away. A view is a window onto the world, though not always onto the world we expect.

The village's lifespan seeks to align with the forest's rhythm.

Wandering through the fog of Brunate, I began to sense how the unseen reveals itself through touch and tension. This project emerged from that moment, where perception blurs, and the boundary between presence and imagination softens.

"MĒTAsêm" is a multidimensional ethnographic research into the meanings and effects of borders, thresholds, and limits—geographical, historical, and metaphysical. Objects, ambiguous waters, and sound narratives become tools to collapse and blur each of these imaginary lines.