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Bio

Born 1982. Lives and works in Bath (UK)

Graduates in Fashion Studies at University of Bologna (Italy) in 2008.

After several years in the fashion industry, enrolls at the Academy of Fine Arts of Venice in 2017.

Completes an MA Fine Art at Bath Spa University in 2020.

Exhibitions:​

  • F.O.M.O. (two-men show with Mark Burch), Roper Gallery Bath Spa, 30th June - 10th July 2022

  • Group show curated by Kaoru Jacques, Beppu City Museum of Art, 1 st - 13th March 2022, and Beppu City Hall, Beppu (JA), 24th March - 15th April 2022

  • Fall Again (group show curated by Chloe Arnoldi and Hannah Coton), Bocabar Paintworks, Bristol, 28th September - 28th November 2021

  • Of Echoes and Fragments (group show curated by Katie Ackrill), The Pound Arts Centre, Corsham, 17th May - 12th June 2021

  • Untitled 2020 (online group show curated by Poppy Clover), mastersatbathspa.com, 25th September 2020

  • Really/Real_FaB20 (online group show), fringeartsbath.co.uk/real, 22nd May - 7th June 2020

  • Art Night (group show), Academy of Fine Art of Venice, 23rd June 2018

 

The GRID Project

The GRID project is a painterly exploration of the relics of a lost future. It is named after the acronym GRID, which stands for Gay Related Immune Deficiency, the term used to refer to AIDS in the early days of the disease, inferring that gay men were the source of the disease as well as its sole target. Although the term was only used between 1981 and 1982, it prefigured the political use of fear-mongering, hate and stigma against homosexuals in the process of urban and social gentrification that followed the riots of the previous decades.

A grid is also a visual device which helps controlling the reproduction of an image by dividing it into smaller squares. I find that this idea of control through partitioning, and the double reading of the same word suit well the political miscommunication about AIDS, and the tradition among gay people to use double meanings and secret languages and signs to convey covert messages to each other safely before the fights for rights and visibility began.

The lost future I refer to is the one that seemed to be promised by the sexual revolution and the global village, a place and time of possibilities, experimentation, and empowerment through sex and community that was highly unpopular among conservatives. That revolutionary climate fed off the need to come together for queer people in a time where hate was straightforward and physically violent, but was also made possible by the low costs of housing in Western cities.

As a gay man born in 1982 and come of age after the “lifeboat” (the antiretroviral therapy that extends life expectancy of HIV+ people), I grew up with the dream of leaving my small town to find a community and a place to belong to and be free, but soon realised that the world I was anticipating joining had disappeared. Suddenly, being gay was trendy and meant I was sensitive, had an eye for fashion, and was the male friend all girls wanted; the fight for acceptance was over and there was no further reason to join forces, be visible and make noise outside of Gay Pride parades. No one ever mentioned Aids, but its shadow was everywhere.

With a feeling of being late to the party, I saw the shards of my broken community dispersed and holed up in digital closets; pressured to live up to the expectations of glamour, success and pride in a financially hostile environment, I let the dreams of a new freedom of expression succumb to the primal need to survive. My practice enables me to consider and understand the resulting sense of loss and dislocation as I wander among images from a past I was never part of, mixed with images of obscure domestic environments from the present that, although not giving a sense of home, become metaphors of inner neglected feelings.

Focussing on the imagery about AIDS and gay culture, I explore how these have been used to shape people’s interactions and relations with each other – particularly with each other’s body. Although being nothing more than relics archived in unfashionable corners of the internet, such words and images (taken from old documentaries, movies, advertisements and newspapers) have nurtured the need to monitor and control the feared others, the ones who do not adhere to a mainstream (Catholic) code of conduct, and to rid the city centres of their threatening bodies. Those words and images have, in facts, established a strong connection between Aids and homosexuality (as in the acronym GRID), ascertained that promiscuity is bad, and that aggregation must be avoided because physical proximity is dangerous.

The impact of the recent, much less deadly virus, COVID-19 (and its own metaphors and miscommunication) has triggered this research exactly from the association body = danger, and from the consequent escape in a voluntary self-isolation against contagion.