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My artistic practice was born from the need to find a way to face and explore topics such as memory, time and the relation between human beings and the space around them. 

In the last few years, it has been a reflection in continuous development starting from the intersection between memory, space and time. 

These invisible measures influence in a strong way our lives. Time and space are the two main coordinates of a memory: something happened in a given time and in a given space. But actually memory has the capacity to undermine these two cardinal points: often we think that we have a perfect remembrance of the shape of an object in a given place or of the face of a loved one, when on the contrary we keep only a general ‘sensation’ of the object, the place or the person.


From there, my practice has then been focused on two different but complementary concepts linked to memory: the fragment and the mould. Our memory is composed of fragments that we try to put together again every time we try to remember something. But the result will never be perfectly adherent to what really happened. Even if the fragments of our memories will have perfect adherence between them, they will always remain fragments of something that at some points was a whole. On the other hand, our memory will always be a mould of what actually was there before: we will be able to replicate those things, but there will always be something slightly different from the original.

In my practice, I am deeply interested in understanding and studying these discrepancies between reality and our memory.


Recently, taking the moves from my previous research, I have been interested in studying the concept of the archive in the contemporaneity. In particular, how it is related to the concept of stratification of time and with our mental archive of memories, referring in particular to Bachelard’s ‘The Poetic of Space’

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