I am interested in the way we process and digest information and language. The way we create narratives in our own minds to construct the idea of our own reality.  Essentially, the way we put things together to make sense of other things.

I am focused on the process of categorization. In other words, the way in which we categorize images as a shortcut to digest them more quickly.

Digital images, which circulate at an incredible rate, can now be manipulated to not only feed subliminal information but to literally create a sense of a fake reality, where the new fake quickly subsumes the original.

I collect images into a digital library. Sub-narratives in my mind are quickly intertwined to create the basis of my own decision making regarding whether I find something interesting or not and which image will work its way into a painting.

Depending on its aesthetic quality and what the original represents, the digital image is manipulated to transform and subvert the way we read and experience it.

The image is stretched, pulled, cropped and duplicated several times into numerous layers. Each layer goes through a process of digital filtering. The different combinations of each layer are made to morph one into the other until the original image starts to transform. Sometimes it literally starts looking like something else, other times it starts evoking a feeling which was not present in the beginning. Numerous combinations are created and saved.

At a later stage the differences between the saved files are further scrutinized, edited and combined to create the final rendition.

The white framing acts as a device to allow a painting “style” that can encapsulate multiple “styles”. It is not only a nod to minimalism, but also a direct reference to graphic design and the way we encounter art images in the format of postcards and art books. It also alludes to dropping a file into a digital worktop layer in photoshop or any other digital editing platform.

A UV direct to media printer is then used to transfer the file directly onto canvas. Once printed and stretched the decisions that had been made digitally are challenged and re-visited manually to complete the transition into the finished painting. Paint is applied to the print in a variety of formal techniques to further enhance the fine line between the digital - the printed and the painted.

I render the found digital image into a painting to stimulate and suggest a slower, deeper and more sensual human experience of it.

(b. 1977, Milan, Italy)


MA Fine Art, Goldsmiths College of Art, London, UK
BA Fine Art, University of Wales Institute (UWIC), Cardiff, UK


Give zero ducks to how it looks to the swans. The swarm of swans still sings the song that swears
I must be wrong, Roman Road Gallery, London, UK
Yoghurt Weaver, Edel Assanti Gallery, London, UK
London, UKEngland.12.05.2011.18:00, Maria Stenfors Gallery, London, UK
New York.USA.10/17.2010.18:00, Charles Bank Gallery, New York, NY
Milano.Italia.19.09.2010.19:00, Lucie Fontaine, Milan, IT
Crooked Faith, Galerie Vera Munro, Hamburg, GE
Triumphers (with Willem Weisman), Ovcharenko Gallery, Moscow, RU


The Natural World: Part II, Alexander Berggruen, New York, NY
The Secret History of Everything, Perrotin, New York, NY
Ridiculous, Elephant West, London, NY
It Sounds Like it Weighs a Ton, Garden Walk, London, UK
Tailslide, Andor Projects, London, UK
The Piccola Project, The Design Museum, London, UK
Bowery Lane, Judith Charles Gallery, New York, NY
The Suburbans, The Suburban, Chicago, IL
Material Matters, The Drawing Room/UBM, London, UK
Estate, Marianne Boesky Gallery, New York, NY
Entourage, Lucie Fontaine, Milan, IT
Index, Kunsthaus Hamburg, Hamburg, GE
Sync Sync, 401contemporary/LONDON Projects, London, UK
Knowhow, Campbell Works, London, UK
Through A Glass Darkly, Maria Stenfors Gallery, London, UK
Das Vertraute Unvertraute, Württembergischer Kunstverein, Stuttgart, GE
The Milkplus Bar, Josh Lilley Gallery, London, UK
L’Arpa Magica, Lucie Fontaine, Milan, IT
Straight to the Unknown, The Forgotten Bar Project, Berlin, GE
Ayran and Yoga, Kreuzberg Biennale, Berlin, GE
Grammar See, Rod Barton Gallery, London, UK
No Soul For Sale, Tate Modern, London, UK
Heads and Tails, 401contemporary, London, UK
Individuals, Prague Biennale 4, Prague, Czech Republic
Saxon, Schwartz Gallery, London, UK
Plus, Volume, London, UK
If it’s not right, it’s wrong?,Hooverville Projects, London, UK
Central Nervous System/Forgotten Bar Project, Open Space, Art Cologne, Cologne, GE
Eau Sauvage part 2, Fieldgate Gallery, London, UK
Marte e Aqui, Vila Madalena, São Paulo, Brazil
Eau Savage,Galerie Lucy Mackintosh, Lausanne, Switzerland
Let There Be Light,Sotheby’s, London, UK
Solitude, Upstairs Berlin, Berlin, GE
Be Ready Heart for Parting New Endeavour, G.E.H. London, UK
Gigolo, Trailer Projects, London, UK
Kingdom, Market Gallery, Glasgow, Scotland
Material, Sierra Leone Embassy, London, UK
Cinderella, Trailer Projects, London, UK
New Blood, Saatchi Gallery, London, UK
Blind Date, Temporary Contemporary, London, UK
Sneeze, Arch Gallery, London, UK


First prize winner of the BOC Young Emerging Artists award