These paintings ARE NOT

pattern based
beautifully painted
badly painted
a diary (or intimate)
a political (or social) commentary
a reflection on painting
looking for (honest) expression
a catalogue of possibilities
process based
based on subconscious impulses

They are made of the residues and the ruins (the relicts and the fallout) of all of the above.


There is an asynchrony between thoughts and actions that I am compelled to explore. Painting — as the production of images with the body — allows me to inhabit this hiatus, to expand it.

My work emerges from a combination of opportunistic, meditative and ruminative attitudes.
I take inspiration and materials from the streets of London and Rome, empty shop windows, markets, discarded objects, walls.

I collect and reuse materials coming from a variety of sources. These materials challenges my control over the work. This attitude sabotages my automatic responses, keeping me in a state of openness, and also make the line between me and the world fluctuate.

To explore this tension I often use formal models and visual units from collective narrative structures. Used as critical devices, my subjective apprehension of reality and my personal memories transform and interrogate those same narratives of morality, power, sexuality, and desire.

I am interested in the threshold of emergence of images, in how images generate each other, mechanically and figuratively, and in how doing so shape our psyche; in their circulation and in the means through which they circulate.

I like to call this process of rumination, appropriation and meditation an “image laboratory”.