Unlimited (a step further)

Bella vista

The series plays with kitsch and icons, which from time to time are nothing more than synonyms, and with the baroque idea of spectacle. Spectacle, with its flamboyance, it's one of the best method to pursue the covering of a void. An hollow filled-up with emptiness and covered with a wonderful tromp-l'oeil summoning remote ideas and positive deeds. The idea of spectacle stands efficiently in the shape of an icon, which could be an over-sized Madonna or a well known picture of a landscape eventually become a “bella vista”.

Anything can become an empty symbol, thanks to the passing of time the sharp edges get knocked-off and things that use to be vessels of engaging meanings and great sentiments become either forgotten or shifted into the realm of pure visuality.

The pornography goes along with the concept of symbol (a symbol is an object that represents, stands for, or suggests an idea, visual image, belief, action, or material entity) for its own becoming a symbol. Pornography attacks the physical and psychological values of sex as efficiently as the church and other creeds do.

The symbol of sex is the pornography itself. To be clear, sex is becoming a spin-off of pornography not vice versa.

In a society where the “symbolic exchange” is subject to continuous fluctuations of trends, the referents come forth without their references, therefore the images come before their producers. If the smell of a cake resembles in our minds the shape and the qualities of the object that produces that peculiar odor, the cake, pornography among the youngest generations resemble the act of sex. With, all its pro and con.

The fuel of these paintings is the contrast between dying and growing icons.

The emerging and rising of pornography as a new myth is placed underneath the falling of the ancient ones. 

404 days of rain

 404 days of rain, is a very personal series of paintings in which I'm mostly concerned about a sincere narration trough paintings of the experiences that have characterized my last two years. The element that mostly defines this group of paintings is a colorful palette and a clear figurative style. The use of figurative style is for me a great statement per se, it may be seen by many as backwards, anachronistic, but to me offers the great opportunity to see how the fictional representation of paintings has chanced in the age of the digital technologies. This ongoing series of works allows me to investigate the classic painting genre of landscapes, and as well to get engaged with themes dear to the Expressionists.

Hijacked democracies

3 weeks of hijacked democracy at Bergen Kunsthall

72 hours of hijacked democracy at KHIB


72 hours of hijacked democracy at KHIB


5 paintings 90x95 cm, mixed media on canvas



The series 'Hijacked democracies' aims to eliminate the untouchability of the artwork and part of its subjectivity. An artwork is the fruit of the artist's subjectivity, and by consequence it's dogmatic and unquestionable. The viewer’s opinion is not asked for. The duty of the spectator is accomplished in the observation of the artwork. Once the guest has been counted and/or his ticket has been registered, the relation between viewer and artwork is concluded.

In 'Hijacked democracies' the relation between the two parts is more lively. The spectator is kindly invited to leave a trace of his passing by, on the work itself, within the boundaries of the supplied means and the given time.

The work becomes not only a portrait of the artist's subjectivity, but also a portrait of a defined group of people, in a certain place and in a particular moment.

In our contemporary democracies the input or law is debatable and modifiable within certain given limits. Considering the predefined limits and the selection of people on who the input is applied, the output is often predictable.

The value of the artwork in the 'Hijacked democracies', shifts from the aesthetic to the relational.

The concept of an 'Hijacked democracies' show is to exhibit in the same space a group of “open” works (modifiable during the whole period of the exhibition) equipped with shelves with markers in front of each one, and a group of 'Hijacked democracies' already “concluded”, so not modifiable, coming from other exhibitions/performances, and therefore already “hijacked”.

The title of the work corresponds to the time and the place where the “performance” has happened (for instance: 72 hours of hijacked democracy at KHIB).



Portable landscape (scenografia per valigia), acrylic on paper 300x800 cm e valigia 42x28x72 cm

Il mio paesaggio per valigia è il mio nuovo paesaggio e la mia valigia. Ed il paesaggio ha viaggiato piegato nella valigia dal posto rappresentato su di esso a qui.

E' un paesaggio migrato vissuto da un migrante, un atto politico. Il mio atto politico.

Mi torna in mente ciò che Picasso disse ai soldati nazisti quando videro il Guernica: -”Vi piace? Sapete, questo non l'ho fatto io, l'avete fatto voi”. Qualcosa del genere. Naturalmente il riferimento è esagerato ed esasperato in tutti i sensi, ma credo in qualche modo calzante.


Ghetto Blaster 40x50x60cm, installation, mixed media on wooden cupboard, Hardbakka forest surroundings

Stranded in Land, 9m x 3m hanged 4m x 4m x 1,60m h circa, acrilic on paper

they have gone, cupboard 200 paper rolls

Rise and fall of a living human - chapter 2 and Act of faith

Rise and fall of a living human, 4 canvases 200cm x 140cm each one, 2013

Rise and fall of a living human is a polyptych composed by 4 canvases each 2m x 1,40m.

The work spans over crucial themes and moments of someone's life. Religion and family, nature and sexuality.

The moments are intertwined and united. In three of the four paintings pornographic drawings pop out in a more or less visible way. The big icon, made like a “madonnaro” would do it, is an exception. Family and religion tend to not admit pornography transparently. But the pornography is there, the pornography of an over-sized icon, kitsch and empty, and therefore universal. And if “the call of the wild” is the leading feeling in the fourth canvas, in the second the idea of a mathematical and statistical sadness is dominating (hammer-sharks defined by tons).

The styles are different. The paintings can be associated only by being placed one after another, by the reoccurring materials, and by their size, repeated in any chapter/canvas.

The aesthetics is clearly post-modern. It’s reminding of David Salle and a certain freedom of style practiced by several artists in the 80s'.

The works can be shown separately. The title of each of them will always recall the idea of a more complex entity, of which, the single work is only a chapter.


Sorbolo ZOO


2009 - 2008

2007 - 2006