What I do with my paintings is to simply capture the attention of the audience.


My pictures are strong, impetuous and shocking, they leave little room to the imagination and they overwhelm the viewer.


They almost force him to watch, to loose himself in them.

They somehow enclose anger, hate, sadness, fear, all this accompanied by strong colours, shock, such as red, black and white.


The key word is conflict. Dark shades prevail in the scene, trying to move the observer.


My research has always led to focus mainly on feminine subjects, and particularly faces: they express all those states of mind that recall the occult, demoniac, something that scares but at the same time fascinates.

Feminine faces can frighten and overwhelm the male soul, but also they can seduce.


I have always drawn my inspiration from the Symbolist movement and the Romantic one, trying to understand works by masters such as Johann Heinrich Fussli and Hieronymus Bosch, as well as the classic Caravaggio, in which work the colour black predominates.


My study starts from here, and leads to the creation of the thesis concerning Devil and Violence in the Arts.


Regarding my though and my poetic, my point of view is that no matter how a work can be appreciated or not, it is not all about beauty as it used to be; I am sure that whenever we set our gaze on something that fascinates us, without a specific reason, that is the moment in which the connection between the work of art and the viewer begins.


The alchemy that links humans and art, that drives our desire of possession through contemplation, traps us.