Promesse (Promises)
2025
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Promesse (Promises) is a series of ten oil and charcoal paintings on canvas that explores the relationship between failure, expectations, and transformation. The project originates from the idea that every promise—whether made to oneself or to others—already contains, by its very nature, the possibility of its own dissolution.
The works inhabit a space of tension where the desire for belonging, social roles, and expectations gradually begin to unravel. Vulnerable bodies, interior architectures, and suspended images compose a journey through disillusionment and acceptance, in which failure is no longer understood as an exceptional event, but as a condition through which to redefine one's relationship with the world.
Promises offers no answers. Instead, it proposes a poetics of doubt, wounding, and surrender as a form of honesty, questioning what remains when the narratives through which we construct ourselves no longer coincide with lived experience.
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Il prossimo inverno (The next winter) 2025
oil and charcoal on canvas 90 x 110 cm 35 7/16 × 43 5/16 inches
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Il prossimo inverno (The next winter) depicts a series of bodies lying on the ground, figures that gradually merge with the urban landscape until they are absorbed by it.
Painting becomes a means of observing what happens when a person is no longer recognised as such, suspended between presence and absence as a consequence of marginalisation and the constant pressure to adapt, leaving open the question of what it truly means to be forgotten.
Un individuo promettente (A promising individual) 2025
oil and charcoal on canvas 120 x 100 cm 47 1/4 x 39 3/8 inches
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Un individuo promettente (A promising individual) emerges from the distance between assigned potential and lived identity.
The newborn portrayed becomes a symbol of a broken promise, of a condition that can arise from an excess of possibilities, where the expectations and narratives built around what we might have become become intertwined with the way we perceive ourselves.
Within this uncertain space, the promise loses its character as an achievement—as a "duty towards an idea of oneself"—and instead becomes something fluid: the possibility of remaining faithful to one's deepest feelings while continuously redefining itself through experience.
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
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I giorni d’ore (The days of hours) places the body and labour in dialogue as sites where identity is constructed.
A naked body lies beside a pile of work clothes, in a scene where the boundary between choice, necessity, and belonging remains ambiguous.
The painting explores the relationship between time, productivity, and meaning, dwelling on the distance that can emerge between who we are and the roles we inhabit each day.
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
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Il compositore di vuoti (The composer of voids) takes shape around the idea of absence as an active presence.
An overturned piano and hands silently performing the opening notes of Gymnopédie No. 1 by Erik Satie into empty space create an image suspended between silence and impossibility.
The work explores the mechanisms capable of transforming every space of possibility into a threatening void, inviting us to recognise the cruelty we inflict upon ourselves and to ask what might have happened had we found the courage to listen to that silence instead of filling it with fear.
Il peso (The weight) 2025
oil and charcoal on canvas 120 x 100 cm 47 1/4 x 39 3/8 inches
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Il peso (The weight) depicts a body crushed between two massive blocks, unable to escape the pressure bearing down upon it.
The work relates the body to the visible and invisible forces that shape contemporary identity: social expectations, economic structures, sexual and gender roles, and the obligation to become in order to prove one's worth. It explores the threshold at which resistance and surrender cease to exist as opposing categories.
Cattive strategie (Bad strategies) 2025
oil and charcoal on canvas 120 x 100 cm 47 1/4 x 39 3/8 inches
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Cattive strategie (Bad strategies) stages an impossible game. Seated before a chessboard, a naked man has only a single pawn, while his opponent—a pink worm—possesses every piece.
The pink worm is a recurring figure within my artistic practice, representing what remains once every mask has fallen: the deepest, most fragile, and most authentic core of the human being.
The scene transforms the language of strategy into that of uncertainty, exploring the relationship between control, vulnerability, and inner conflict.
L’abisso (The abyss) 2025
oil and charcoal on canvas 120 x 100 cm 47 1/4 x 39 3/8 inches
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L’abisso (The abyss) originates from an ordinary moment: waking up. Within the interval between sleep and wakefulness, the body seems to confront an inner space as vast and profound as the ocean.
The work transforms an everyday gesture into a threshold, where getting out of bed becomes a metaphor for the struggle to find meaning, energy, and direction.
Labirinto (Labyrinth) 2025
oil and charcoal on canvas 100 x 120 cm 39 3/8 x 47 1/4inches
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Labirinto (Labyrinth) is a visual allegory of change. The work rejects the linear narrative of improvement or "healing," instead giving form to a fragmented and uncertain journey made of detours, pauses, and returns that lead neither back to the point of departure nor toward any recognisable destination.
The staircases that populate the scene become mental architectures, inner movements that portray an identity in constant transformation, where ascending and descending are no longer meaningful distinctions.
The work is an invitation to inhabit complexity and to accept that genuine transformation often has neither direction nor end, but unfolds through the simple act of searching.
Il fiume (The river) 2025
oil and charcoal on canvas 120 x 100 cm 47 1/4 x 39 3/8 inches
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Il fiume (The river) gives form to the moment in which life reveals itself.
The work stems from the desire to hold onto what usually passes through us without allowing itself to be grasped—the continuous flow of encounters, gestures, choices, and presences. For the river does not ask; it takes. It carries with it experiences, people, spoken words, missed opportunities, and actions already taken. Everything flows together within the perpetual movement of time and society.
The River reflects on the fragility of the moment and our belonging to the rhythm of the world, preserving the trace of that instant in which we recognise ourselves within a universal movement before life resumes its course.
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
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With I tuoi occhi blu mi guardano fallire, ancora (Your blue eyes watch me fail, again), I confront the fear of disappointing those who love us and the guilt of repeating it over time. Two eyes occupy the surface of the canvas—my father's eyes. Reflected within them is the suspended figure of a body: myself.
The painting questions the way in which the gaze of others continues to shape the image we construct of ourselves. The reflected figure becomes a symbol of self-sabotage, failure, and unfulfilled expectations.