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.


  • Fall Again (group show), Bocabar Paintworks, Bristol, 28th September - 28th November 2021

  • MA Degree Show (deferred), Locksbrook Campus, Bath, 24th - 30th September 2021

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

  • Untitled 2020 (online group show),, 25th September 2020

  • Really/Real_FaB20 (online group show),, 22nd May - 7th June 2020

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



The light of the public obscures everything*

Martin Heidegger

My experience of being a painter began, not with placing paint on canvas, but with long hours spent looking out of the window, imagining the world. When I was finally old enough to dive into the world, I felt appalled by its toxicity and untruthfulness, and instead of dealing with it to find my place, I felt the need to look for a shelter. In my paintings, I am often drawn to images of domestic spaces where light seems to threaten the quiet of a dark lair. Light that burns, light that tracks down, light that alienates.

In her essay Men in Dark Times (1968), Hannah Arendt defines as function of the public realm “to throw light on the affairs of men by providing a space of appearances in which they can show [...] who they are and what they can do”**; she paraphrases Heidegger adding that darkness comes when this light is extinguished by “credibility gaps” in the establishment and “invisible government”, by speech designed to hide instead of disclosing what is (“mere talk”). This darkness creates a state of Worldlessness, an impossibility to connect with the World. World is acting together, Worldlessness is thinking in terms of us and them. Once alienated from it, the World is perceived as “the Public” – in my eyes, a sort of hostile Big Brother that knows all our little secrets, a digital panopticon that watches and controls our feelings to feed the Matrix, and also a persecuting toxic light nobody can escape from.

Search for shelter and withdrawal from the Public have shaped my approach to painting; I am instinctively inspired by the clash of light and darkness, inside and outside, tangible and elusive, and windows are a favourite subject. I have an open approach to painting, in the sense that I do not pigeonhole myself into a specific style, but prefer to consider painting by painting the best approach and the necessary adjustments. I am inspired by artists like Mamma Andersson, Luc Tuymans, Alexander Tinei, Edward Hopper and Wilhelm Sasnal for their ability to convey an inner darkness and transcendence of reality.

* Heidegger, cited in Hannah Arendt, Men in Dark Times, 1968, p. ix.

**Idem, p. viii.