Promesse (Promises)
2025
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Is it worth living in a lie, when the promises on which we built our identity turn out to be illusions? When the constant pursuit of balance, inner success, and peace reveals itself as an act of self-manipulation, meant to give meaning to an otherwise chaotic, empty, incomprehensible reality?
Promesse (Promises) is a project currently articulated in a cycle of ten oil and charcoal works on canvas, that explores failure as an existential condition and reflects on the meaning — and the loss of meaning — in living. Through a raw and emotional pictorial language, I perform an act of self-analysis, laying bare my deepest vulnerabilities, which become a mirror of collective and universal unease.
The project addresses, without rhetoric, themes of personal failure, fractured identity, self-sabotage, and dissolution within social roles. It explores the margins of disillusionment and the cracks in societal constructs that promise well-being in exchange for adaptation and silence. The works expose a radical vulnerability, in contrast to the brutality of the external world, questioning the idea of personal progress as salvation, to instead narrate an inner cycle of struggle, disillusionment, and acceptance.
There is no comfort: Promesse offers no escape routes, only a lucid and conscious surrender.
In a time that rewards appearance and efficiency, Promesse proposes a poetics of doubt, of wounding, and of breakdown as a form of honesty and perhaps inner resistance.
The only promise kept, then, is that of doubt.
Il prossimo inverno (The next winter) 2025
oil and charcoal on canvas 90 x 110 cm 35 7/16 × 43 5/16 inches
2.600 €
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In Il prossimo inverno(The next winter), I confront one of the most visceral and least expressed fears: the possibility of being forgotten, excluded, absorbed by collective indifference. The work depicts a series of collapsed bodies — indistinct homeless figures blending into the urban landscape. These bodies do not occupy space: they become it.
In this piece, I reflect on identity, mental health, and the importance of social status as an anchor of visibility and human recognition.
Painting becomes the means through which I narrate the progressive dehumanization of those who fall to the margins, reduced to visual clutter, to background noise of modernity. But there is also something more subtle and intimate: an autobiographical fear, a projection of myself into that invisibility, into that extreme solitude. It’s a work that combines denunciation and confession, speaking of psychological distress as a consequence of marginalization and the constant pressure to adapt.
Il prossimo inverno investigates the fear of being forgotten — and the ultimate terror of those who have already been forgotten.
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N/a
Un individuo promettente (A promising individual) 2025
oil and charcoal on canvas 120 x 100 cm 47 1/4 x 39 3/8 inches
2.800 €
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In Un individuo promettente (A promising individual), I give visual form to an experience that is both shared and deeply intimate: the feeling of having fallen behind the potential others once saw in us. The work reflects on the paralysis that can arise from an excess of possibilities, on an identity built not from authentic desire, but to respond to an external gaze.
The piece originates from the fact that, as a child, I felt “decent at everything,” capable in every field but lacking a central fire. Instead of becoming a strength, this versatility generated uncertainty and disorientation. Being everything became the safest way to be nothing.
With a more conscious gaze, I now reinterpret that broken promise not as failure, but as transformation. The silent observer I’ve become is not a renunciation, but a new identity. A point of view that digs, records, and reprocesses. The true promise, perhaps, was not success — but the ability to look deeply.
Painting thus becomes an act of reconciliation:
I promise to remember, to accept who I am today.
With Un individuo promettente, I propose a vision of fragility not as a limit, but as a lens through which to observe the world. An invitation to reconsider the promise not as a duty to an idea of the self, but as a possibility of remaining faithful to one's deepest feelings.
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N/a
I giorni d’ore (The days of hours) 2025
oil and charcoal on canvas 120 x 100 cm 47 1/4 x 39 3/8 inches
2.800 €
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In I giorni d’ore (The days of hours), I address the theme of existential precariousness and of work experienced as condemnation. At the center of the scene, a naked body — vulnerable, exposed — lies next to a mountain of work clothes, symbols of imposed roles, prefabricated social identities, of the obligations that define daily life. The absence of rebellion or belonging marks a profound rift between being and having to be.
The work stems from a concrete and universal fear: that of living only to accumulate hours, of turning days into mechanical sequences in the service of a system that measures value in productivity, not in meaning or feelings. I convey the sense of disorientation and dehumanization of those who feel forced to choose between economic survival and fidelity to themselves.
The naked subject, stripped of masks and costumes, refuses — or is perhaps not yet ready to wear — what would make him “useful,” integrated, a cog in the machine. It is an act of resistance against the corroding compromise, against a system that rewards adaptation and punishes the unfit.
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Italy, Florence, Emozioni d’Arte, Galleria d’arte La Zaffera, 20 December 2025 - 10 January 2026
Italy, Florence, Segni, OnArt Gallery, 22 November - 2 December, 2025
Il compositore di vuoti (The composer of voids) 2025
oil and charcoal on canvas 120 x 100 cm 47 1/4 x 39 3/8 inches
2.800 €
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Il compositore di vuoti (The composer of voids) arises from a constant and elusive sensation: that of absence. An absence that is not merely a lack, but becomes an invasive, almost tangible presence. Like a void that demands attention.
The work takes shape from a memory: listening, as a teenager, to Gymnopédie No.1 by Erik Satie — a melody that seems to give voice to a pain not yet understood.
In the painting, the first real notes of the composition are faithfully quoted, with the subject’s fingers placed in the correct position, despite the instrument being overturned and unplayable. A piano flipped upside down thus becomes a symbol of an impossible search, of a poetic and desperate gesture: playing silence, seeking sound where it cannot exist.
The work tackles themes of failure, denied identity, the incongruity between who we are and who we might have been. But it is also an exploration of the beauty of not knowing, of seeking without the guarantee of success — the human and vulnerable act of trying.
Il compositore di vuoti speaks of a mind that fills silence with obsessive thoughts, engineering mechanisms of fear capable of turning every space of possibility into a threatening void.
An invitation to recognize the cruelty we inflict on ourselves.
And to ask ourselves, with honesty:
What would have happened if we had had the courage to listen to that silence, instead of filling it with fear?
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Italy, Florence, Segni, OnArt Gallery, 22 November - 2 December, 2025
Il peso (The weight) 2025
oil and charcoal on canvas 120 x 100 cm 47 1/4 x 39 3/8 inches
2.800 €
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In Il peso (The weight), I depict a young body trapped between two imposing blocks — symbols of the pressures weighing on contemporary existence. The subject, expressionless, stares at us with an empty, anesthetized gaze, as if every emotion had already been consumed by the very weight crushing him.
The work stands as a ruthless allegory of the tensions that structure modern life: social expectations, economic dynamics, sexual and identity roles, the need to be in order to prove oneself. The young man does not resist, does not fight, does not ask for help: he remains there, caught between two forces that crush him, unable to react. In this state of forced stasis lies the failure of a long-broken promise: the promise of learning to bear the weight of life.
Il peso tells a story that is as individual as it is collective. The boy could be any of us. His numbness is the result of constant exposure to judgment, competitiveness, and performance. But it is also the sign of the end of resistance:
When the weight can no longer be carried, one becomes it.
There is no pathos or overt drama, but rather a glacial lucidity that questions the viewer:
How much can we endure before we forget that we are alive?
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Italy, Florence, Emozioni d’Arte, Galleria d’arte La Zaffera, 20 December 2025 - 10 January 2026
Italy, Florence, Segni, OnArt Gallery, 22 November - 2 December, 2025
Cattive strategie (Bad strategies) 2025
oil and charcoal on canvas 120 x 100 cm 47 1/4 x 39 3/8 inches
2.800 €
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In Cattive strategie (Bad strategies), I stage an impossible match: a naked, vulnerable, solitary man sits before a chessboard — usually a symbol of rationality and strategy — which has become a theater of the irrational. Across from him, his opponent: a pink worm. The man has only one piece; the worm has them all. The imbalance is absolute. The challenge, hopeless.
The pink worm, one of the central figures in my artistic imagination, represents the most fragile and authentic emotional core of the human being. It is not a monster to be fought, nor a caricature: it is the part that fears, that doesn’t react, that suffers in silence. It is what remains when the masks fall, when the desire to be “Man” — strong, coherent, victorious — crashes against inner reality.
The work is a visual representation of an eternal and asymmetric inner struggle: the identity we want to construct versus the nature that inhabits us — acknowledging that inner conflict cannot be resolved, only embraced.
Cattive strategie speaks of identity, self-deception, and acceptance. A visual reflection on how difficult — and human — it is to coexist with what we are, even (and especially) when it does not resemble us at all.
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N/a
L’abisso (The abyss) 2025
oil and charcoal on canvas 120 x 100 cm 47 1/4 x 39 3/8 inches
2.800 €
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With L’abisso (The abyss), I portray one of the quietest and most devastating moments of human experience: waking up in the void — that suspended fragment in which the day has not yet begun, but already makes us feel at the mercy of an inner ocean.
The work transforms a daily gesture into an existential vision: getting out of bed becomes a metaphor for the struggle to find meaning, energy, direction. In a world that demands efficiency and clarity from the earliest hours of the day, I instead tell the truth of those who wake up already tired, already defeated, immersed in deep thoughts that offer no answers — only the sensation of drowning.
L’abisso is a painting about deep sadness, alienation, and that form of obsessive thought that creeps in with the morning light and amplifies every emotion, making it vast and elusive. It is not just a body in bed: it is every human being who, at least once, has stared at the ceiling without knowing why they exist.
L’abisso does not seek comfort, but recognition. It is the portrait of someone who, before even starting the day, must first survive themselves.
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Italy, Florence, Segni, OnArt Gallery, 22 November - 2 December, 2025
Labirinto (Labyrinth) 2025
oil and charcoal on canvas 100 x 120 cm 39 3/8 x 47 1/4inches
2.800 €
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“One can fall so low as to mistake the ascent for yet another descent.”
With Labirinto (Labyrinth), I construct a visual allegory of existential change — a work that rejects the linear narrative of improvement or “healing,” instead giving form to a fragmented, uncertain path made of detours, pauses, and returns that never quite lead back to the starting point — nor to any recognizable destination.
The stairs that populate the scene are not just spatial elements, but mental architectures — interior movements that tell the story of an identity in constant transformation. Ascending or descending is no longer relevant:
Meaning dissolves in transitions, in steps, in interrupted directions.
The work becomes a mirror of an experience that is common yet rarely represented: change as effort, as disorientation, as a profound form of honesty toward oneself.
In Labirinto, orientation is not a conquest, but an experience matured precisely through loss. It is an invitation to inhabit complexity and to accept that true transformation often has no direction or end — but takes place in the simple act of seeking.
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N/a
Il fiume (The river) 2025
oil and charcoal on canvas 120 x 100 cm 47 1/4 x 39 3/8 inches
2.800 €
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In Il fiume (The river), I give form to that instant in which life reveals itself: brief, unexpected, almost imperceptible. The work arises from the desire to hold onto what usually passes through us without allowing itself to be grasped — the continuous flow of encounters, gestures, choices, presences. Because the river does not ask: it takes. It carries with it experiences, people, spoken words, missed opportunities and actions taken; everything flows and blends into the perpetual movement of time and society.
At the center emerges a single subject who, though looking at the viewer with quiet awareness — as if for a brief fragment they had perceived their own being part of something greater — does not resist the current. In his gaze lies the awareness that everything flows and changes, even when we are unable to hold onto it. The painting is the trace of that moment in which we recognize ourselves in the universal movement, before life resumes its course.
Il fiume is therefore a reflection on the fragility of the instant and on our belonging to the rhythm of the world: an attempt to make visible what usually passes unseen.
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Italy, Florence, Segni, OnArt Gallery, 22 November - 2 December, 2025
I tuoi occhi blu mi guardano fallire, ancora (Your blue eyes watch me fail, again) 2025
oil and charcoal on canvas 90 x 120 cm 35 7/16 x 47 1/4 inches
2.700 €
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With I tuoi occhi blu mi guardano fallire, ancora (Your blue eyes watch me fail, again), I confront one of the deepest and least spoken fears: the awareness of disappointing those who love us, and the guilt of doing so repeatedly over time. At the center of the canvas, two vast and penetrating eyes — my father’s eyes — gaze at the viewer. In their reflections appears the suspended figure of a hanged man — myself —: not the depiction of an event, but the materialization of a condition.
The work establishes a dialogue between the observer and the observed. The eyes become a metaphor for family, society, and the emotional legacy that shapes and transforms us. The reflected body is not a final act, but a recurring symbol of self-sabotage, failure, and unmet expectations. It is myself, but also every individual who has ever experienced the feeling of “not being enough.”
The painting confronts the viewer with my most fragile intimacy, and does so with a gaze that asks not for forgiveness, but for understanding.
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Italy, Florence, Emozioni d’Arte, Galleria d’arte La Zaffera, 20 December 2025 - 10 January 2026
Italy, Florence, Segni, OnArt Gallery, 22 November - 2 December, 2025