About
I was trained to take things apart
to see what is holding them together.
I never stopped.
My training is in engineering, visual communication and the humanities — three things that turned out to be one thing.
I grew up in a small town in Puglia, in a family with Austrian and Spanish roots. I learned early to look for what a place carries without saying it: the thing everyone knows and nobody states out loud.
METHOD
One thing in the frame that should not be there.
I work by surrealist displacement. Each picture is composed the way people compose themselves to be photographed — in order, well dressed, beyond reproach — and then one detail is left inside the frame that does not belong. The unconscious sees what the eye has been trained to skip.
Nothing raises its voice. Nobody in my pictures is shouting. The viewer is the one who has to say it.
I sign inside my own scenes — on a plaque, on a wall, on a paving stone — because I live in them too. I am not standing outside the thing I am describing.
ENGRAVED BRASS, ON THE HANDLE OF A PRAM.
MATERNAL INSTINCTS, 2026 - DETAIL
SOUND
What I claim about a frequency is that it is there.
Under each work runs one sustained tone, present in every frame of the composition. I play gong and singing bowls, and I am trained as a yoga and sound therapist.
The sessions are not the works, and the works are not therapy. The discipline is the same one: listen to what a sound is doing, not to what it has been sold as.