The surface opens like a body telling its own story through layers, tears, and reconstructions. Visual fragments, cutouts, typographic traces, and grafts of color function as a memory: territories where my identity bends, resists, and regenerates. I invite the viewer into an inner space of stratification where pain is transformed: it becomes a gesture, a rhythm, an affirmation of presence. This physical and tactile practice of collage reflects the complexity of living within a body that is fragmented but never passive. The image becomes a field of tensions for me: between control and chaos, between what has been removed and what insists on emerging. In my poetics, fragility is not a limitation but a generative engine. Matter rearranges itself, expands, and reclaims space; what seemed disintegrated finds a new form. It is an act of anti-fragility: disorder as a possibility for rebirth, and pain as a matrix of awareness.

TALKING TO THE MOON Living with a chronic illness is an act of redefining geography. With endometriosis, the body ceases to be a familiar home and becomes a contested territory, a map where pain carves invisible borders that profoundly reshape identity, daily life, and self-perception. As an artist navigating this condition, my work explores the tension between the internal landscape and its external representation. A Cartography of Pain Endometriosis, a chronic inflammatory disease affecting 1 in 9 women and gender-diverse people, acts as a silent geological force. Tissue similar to the uterine lining colonizes areas outside the uterus, creating a topography of pain, fatigue, and suffering. Though this metamorphosis remains largely invisible and misunderstood, it redraws the boundaries of being: illness is not merely biological, but a social and political landscape that dictates how we inhabit the world and how we are perceived. This project questions how identity is formed when pain is the constant terrain beneath one’s feet. How can a submerged territory be translated into a visible language?

It is a mobile work of photography, collage, and shells. It begins with the image of a moving body, raw, alive, caught in the instant life breaks through pain. From there, the piece evolves: layered textures, torn paper, fragments of self. Each element speaks of memory, wounds, and rebirth. The shells suspended from the mobile add a multisensory dimension, visual, tactile, even auditory. They are not mere decorations, but living symbols of layered identity: fragile yet resilient, glossy yet sharp. Shells here represent both the body, scarred by chronic pain, and a form of femininity that is not idealized, but alive and imperfect. Sometimes soft, sometimes cutting. This work explores not just resilience, but anti-fragility: the ability to grow, transform, and gain depth through adversity. Each scar, each fracture becomes a site of expansion rather than limitation. It is an anatomy of resistance. A visual breath. A suspended moment between breaking and becoming.

The Invisible Pull is a suspended, site-specific mobile installation composed of abstract photographic collages. This work has been specifically created for Iris Ceramica Gallery - Berlin. Here you can see some picture of the workshop that has been organized and created for the Vernissage: the audience where invited to create their own Dreamscape, I took the pictures and with the help of a digitech (Diego Caglioni) once printed, the audience create new installations. Inspired by metaphysical landscapes, the work explores magnetism and attraction as invisible forces/emotional, symbolic, and relational. The slow, natural movement of the pieces evokes the tension and curiosity between elements that seek each other without ever touching. The title refers to that subtle yet powerful pull we feel toward people, memories, or inner worlds: the energy we cannot see, but that moves us. A minimal and floating visual constellation, the installation invites viewers to look up and reflect on what connects us beyond the visible.

An artistic exploration of identity, absence, and resilience. Rooted in the Italian Ex Voto tradition, my work transforms devotion into action. A vacant crib, suspended body fragments, symbols of longing, faith, and agency. Living with endometriosis, I faced the impossibility of motherhood. In Berlin, I moved beyond prayer to attempt IVF. The empty cradle marks both loss and transformation. This installation invites reflection on memory, heritage, and the courage to act beyond faith, exploring how identity is shaped by what we offer, leave behind, and hope to become.

My research project focuses on the chronic illness Endometriosis and the consequences to the people affected by it. Endometriosis is a common condition where cells similar to the lining of the uterus are found in other parts of the body outside of the uterus. It causes life-changing symptoms including chronic pain and fertility difficulties. Awareness of endometriosis is low, even among healthcare providers.This condition affects 1 in 10 women, so why do we know so little about it? Prof. Pietro Giulio Signorile, President of Italian Endometriosis Association, calls it a “social condition,” but despite how widespread the condition is, many people find themselves waiting years for a diagnosis and struggling to find support, often being told that their severe period pain is normal. Drawing from my personal journey, Endometriosis can leave individuals feeling "in pieces” due to numerous surgeries, emotional struggles, losses, gaslighting, dealing with gender gap. Through art, I want to share a story that promotes strength, resilience and a sense of community. This creative journey begins with portraits I took of women, gradually moving to abstract forms representing their inner world. The creative research features photographs and mixed media collages based on photos, creating a reflective path that explores chronic pain, isolation, and resilience: making the invisible, visible.

My new works speak of a radical change that has not only occurred in my private life but has been reflected above all in my way of conceiving the primary need that I had when I started again with my creative research: to externalize my personal experience with all the series of emotions and deprivations that my disease Endometriosis has led me to live. Starting from the sentence “Although you are literally in a thousand pieces, you can be a masterpiece in another form”, starting from my pieces, I needed to cut, break, fold, glue, color, I needed gestures, signs, strength. So, this new type of research speaks of my “thousands pieces”, of how they must be collected, glued together, held together tightly by courage and resilience. This work also speaks of my first person singular and of the landscapes of my heart.

Is a deeply personal and evocative project that delves into the delicate balance between strength and vulnerability. Is work explores resilience through fragility. Each piece reflects my journey of living with endometriosis, a chronic condition that has profoundly shaped my identity and perspective. Through photography and mixed media, I explore the themes of pain, resilience, and renewal, capturing the intricate layers of what it means to live within a fragile yet unyielding body. This work serves as both a reflection and a conversation: a space where vulnerability transforms into empowerment, and fragility becomes a testament to inner strength.

Creating the artworks was both an emotional and healing journey. During the process, I felt a deep connection to my emotions, and translating them into visual form was both challenging and cathartic. There were moments of intense vulnerability, but also a sense of empowerment as I expressed what I often struggle to put into words. The series began as a way to process and cope with my experiences, especially those related to my struggles with endometriosis. It started from a need to externalize the pain, confusion, and resilience I’ve felt. Over time, it evolved into something more a way to connect with others who might be going through similar experiences, offering a visual representation of emotions that are often difficult to articulate. Overall, it was a transformative experience, helping me to make sense of my journey and find peace in the act of creation

Digital photo

Digital photo

Digital Photo

"BEAUTY KNOWS NO PAIN: A Fascinating Lie" is a photographic artwork that delves into the complex relationship between beauty and suffering.In this series, two girls embody the eternal dichotomy between a perfect outward appearance and the deep emotional wounds hidden within. Space and Girls are intentionally contradictory: girls with angelic features, reflects the facade society often imposes on us. Melancholic gaze and slight scars, represents the inner reality, the invisible pain that many of us hide. Through this contrast, the work critiques the illusion that beauty equates to happiness and the absence of suffering. The title, "BEAUTY KNOWS NO PAIN: A Fascinating Lie," emphasizes this captivating and widespread lie, inviting the viewer to reflect on how often we are conditioned to seek outward perfection at the expense of our true essence and well-being. The piece invites us to recognize and embrace our vulnerability and authenticity as genuine forms of beauty.

Digital photo portrait with vintage paper masks

Digital photo

Mutazioni Contemporanee Progetto ACCADE Galleria A+A, Venezia and Galleria Lucchetta Venezia Digital Photo

A project in collaboration with Accademia di Belle Arti di Venezia and Galleria A+A, Venezia Fine art B/W film and hands print

Premio ARTE 2006, Milano (ITA) In collaboration with Accademia di Belle Arti, Venezia and ARTE Mondadori Cross Over Diapo film to Negative film

Premio ARTE 2005, Milano (ITA) In collaboration with Accademia di Belle Arti, Venezia and ARTE Mondadori BW film