In Search of an Artistic Language

I am drawn to the ritual of packing. The needs of every journey and every destination create their own fleeting forms of grammar, vocabulary and syntex. I remember packing my first suitcase, for Amsterdam, with just a few special words - paper, watercolours, brushes, pencil.  It was here, whilst wandering through museums, copying figures and tracing architectural forms, that the language of drawing entered my life. Here was a way to measure, quantify and express what I saw and felt. Here was my return to a life filled with the lexicon of art. 

A few years later, I found myself in a seemingly empty gallery - featureless but for the lights on the walls. It was the opening of a sculpture exhibition and the lights themselves were the sculptures. This was my first experience with the vivid wordplay of immaterial artwork. And the beginning of my understanding of form as temporal rather than object-based.

At the time, I was working in my family’s cioccolateria, fascinated by the transformative power of simple food dyes and colourants. From the melting pot to the mouth, I began to realise the timeless truth of colour - that it is both unstable and provisional. I travelled to Sardinia with a video camera (my first), initially content to merely capture the majesty of the landscape. Until the day I suspended a bottle of blue-tinted water in the air. Looking through my lens as colour dissolved into sky, I found my expression in the endless depths of transparency.

By the time I found myself in India, I was no longer searching for a landscape, I was striving for a discipline of gesture. My focus shifted from external action to inner attention. Through yoga, breath and concentration became structural elements in my work. It was during this time that I first encountered Warli painting - a language reduced to its essentials, in which repetition organises the image. A formal and transformative economy that greatly influenced my art.

Back in Italy, I began to experiment with the use of lightweight supports and pure pigments  as active line elements, which I then photographed at every stage of movement. Thus the composition shifted from fixed to temporal, developing through the relationship between sign and surface, shaped by modulation. A process that led naturally towards animation.

During my years at the Milan Academy, my work veered toward cyclicality, moving from a linear to a recursive structure through many returns and variations. Animation emerged as the clearest possible language to articulate this temporality. 

From Milan to Paris, where video annotations functioned as working sketches and transitional materials to synthetise compositions of lines, points, letters, numbers and diagrams. Chromaticism and stillness gave way to rhythm and metamorphosis. Gradually, animation replaced video as my primary form of expression, with emphasis given to construction over recording.

In London, I expanded the narrative, with language entering my work through graphic signs, code and visual systems. In a context of informational overload, words repeat, compress, lose depth until they become rhythm:  LOVE / KAOS / PEACE / 01001100 01001111 01010110 01000101 / \x4B \x41 \x4F \x53 / ⠇ ⠕ ⠧ ⠑ / -.- .- --- …  These elements interweave into patterns structured through repetition and instability - the human condition becoming ever less corporeal and more psychological in tone.

Recently, the analogue expressions of knitting have entered my practice, counterpoint to the digitality of code. Between the archaic rhythm of the hand and the computational image, I  seek to find a meditative condition, reflecting on the ways in which time can exist and manifest itself in the world. 

In Tokyo, scientific ideas began to inform the work - equations and theories of fields and transformation. The line, once a definitive graphic element, began to fragment and behave as a field rather than a contour. Grids and repetitions became structural. Artificial Intelligence entered the process as a dialogical partner. Through conversation, each animation was analysed and redefined. Rule-based expressions became part of the construction, introducing a new layer of precision. The work moved onward, from intuitive movement toward systems of relativity and controlled fluctuation.

Today my work focuses on animation as a medium to realign and re-educate the gaze and attention of the beholder. In a context dominated by speed, consumption, and visual overload, my images ask for immersion in precious time. They are not designed for immediate reception, but invite slower, more diffusive viewing. I try to explore the possibility of  breathing gestures that preserve the motions of the hand within the accelerated light of digital systems, seeking zones of friction, listening and fragility. 

I am interested in the point at which code ceases to be a neutral tool and becomes a language - where the iterative cycle transforms into contemplation. The images do not aim to entertain, but to create conditions for seeing. Within this space of tension - between human and technological processes, control and surrender, memory and dissolution - my work proposes a mode of perceptual resistance. A place where technology is neither dominated nor exploited, but inhabited. An invitation to remain, to feel, to recognise time as a shared experience.

Written along the journey, August 2025 – January 2026