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Nature and landscape are important in my research, often manifesting as internal geographies that produce personal readings where everything is in associative, poetic dialogue: humans with their surroundings, rivers with veins, bacteria with the sky, human organs with minerals. “Each element contributes to a network of traces,” as Silvia Bottani writes in her essay for Doppio Zero about my solo-exhibition at Collezione Maramotti in 2017-18, “this sort of ‘universal map of existence’ removes man from the center of the universe, instead inserting us into a complex system where everything exists in relation to other things but without exercising domain or hierarchy thereon.”

Despite the fact that my work since 2014 directly addresses the concerns of painting and its history, it is executed entirely with colored pencil over a monochromatic layer of acrylic paint laid down, not with a brush, but with thick fingerprints. When drawn over, the texture from the fingermarks is highlighted creating detail and visual complexity. One reading of the fingerprints is that they are the accumulation of marks left by humanity over the course of time, but in other works they assume different meanings. In some works they evoke the unique identity of individuals without revealing information about gender, race or nationality. In the large scale paintings the fingerprints look like microcosmic particles.

My work reflects on the self and speaks of inner, personal landscapes that are either protected by boundaries or boundless and open to otherness. Despite the fact that the fingerprints on the surface of my paintings are mine, they extend from the personal to the social; it is my body (and my sense of responsibility) that spreads, shifting between internal and external, bringing together the individual and the collective.