Salerno, Italy. 1982
Lives and works in Milan, Italy.


I obstruct what we think we know, 
it might seem like something artificial, to obstructing an image, yet every real situation contains doubt, and my work consists in the underlining certainties by omission and by doing this, I hope to preserve doubt. I am interested in the visual and intellectual consequences of a certainty going missing. -How can we not fall on our knees in front of the altar of certainty.- Umberto Eco.

If the task of contemporary art is to understand the mechanism of thought, in my work I feel the necessity of altering, in order to provoke in the spectator ­ his conscience, his certainties and his doubts.

Various cycles of my work develop on different levels of alteration. The alteration of collective memory. Ex. Mickey Mouse, Virgin Mary, a loaf of bread, objects of daily use, etc. The spectator may or may not understand the altered subject. 
 The revision of an imaginary subject, something that we apparently know (ex. a classical family portrait posing in the beginning 900s)

The alteration is fragmented, it becomes a part of the structure, of the skeleton of the artwork. The alteration of the image allows different levels of exploration of one’s conscience and culture.