Artwork Description:

My practice maps the thresholds where natural and urban landscapes meet, overlap, and fracture. 

The architecture-inspired geometric works compare cities to living organisms, suggesting that they evolve over time as if they have an ecosystem of their own. At the same time, the natural palette and damaged surfaces recall earth cracks and reflect on human interference with the environment.

In contrast, my recent earth-based works seek to highlight the resilience and beauty of nature through a scientific lens. Drawing on environmental data and geological research, I explore the evolving character of diverse ecosystems in order to narrate their histories and transformations

In Re-Earth, this dynamic is examined through a direct engagement with geological matter. I work with magnetic powder, iron oxide, iron filings and crushed rocks such as iron ore, pozzolan, perlite (materials widely extracted for construction and industrial use), that I collected off the road of mining sites. Through oxidation and the material interaction with paint, the surfaces develop textures that emulate erosion, sedimentation, and weathering in an art imitates nature approach.

The installation centres on a large painting in which an architectural structure gradually disintegrates back into its geological origins. The geometric form appears to dissolve into strata, proposing a reversal of extraction and a symbolic return of material to the earth. Accompanying this work are four smaller paintings representing geological processes that unfold independently of human control: wind weathering, hydrolysis, volcanism, and biological weathering. Displayed beside them are the rocks in their raw state.

My interest in geology parallels my interest in architecture: while both narrate temporal change, architecture mirrors accelerated human development, geology embodies deep time and continuous transformation. Re-Earth reflects on the tension between natural and artificial, envisioning a future where nature reclaims its place, not as resource, but as the primary character.

Can you briefly introduce yourself and describe your artistic practice?

I am an Italian artist based in London, working primarily in painting. Born in Milan, I moved to London after high school to pursue my artistic studies, completing a BA in Fine Art at Middlesex University in 2012. Following my studies, I took part in residency programs in Beijing and New York, experiences that expanded my interest in the relationship between landscape, urban systems, and processes of transformation over time.

My practice evolved from research based on environmental data and cartography toward a material-based approach to painting. Using volcanic rocks, iron oxides, iron filings and magnetic powder, I investigate both geological transformation and painting itself as transformative medium shaped by erosion and oxidation. My work reflects on the relationship between natural and built environments, addressing themes such as ecological fragility, extraction, and the impact of human activity on the landscape.

Alongside my artistic practice, I have developed extensive experience in art education and currently teach painting classes and workshops for adults in London. I exhibit regularly in galleries and independent spaces, with a particular interest in projects centred on environmental and social themes.

Your practice maps the thresholds where natural and urban landscapes meet, overlap, and fracture. How do you visually and conceptually represent this exploration?

My practice is concerned with the relationship between the aesthetic form of environments and the scientific, historical, and social context that shapes it. I often explore how natural and built environments parallel and influence one another over time.

Visually, this investigation developed initially through geometric paintings inspired by cityscapes. I use sharp perspectives and three-dimensional structures to encapsulate the essence of urban architecture, broken surfaces rendered with earthy tones suggest instability and transformation, comparing cities to living organisms evolving in time like ecosystems. I then started experimenting with ground mediums such as magnetic powder and crushed rocks as I introduced geology in my research. These new materials are used to recreate Earth’s weathering patterns and textures, and they seamlessly integrated with the existing aesthetic and conceptual framework of my practice, aligning naturally with the visual language of the work.

Conceptually, I am interested in the tension between human systems and natural processes. Architecture represents accelerated human intervention and extractive processes, while geology embodies deep time and continuous transformation. More recently, I have started approaching landscape not simply as something represented, but as something physically embedded within the work itself.

During the residency, you continued your investigation and created a project called Re-Earth, where you worked with magnetic powder, iron oxide, iron filings, and crushed rocks. Can you walk us through your reasoning behind choosing these materials?

The introduction of ground materials into my practice developed quite organically through experimentation. The first ground medium I started working with was magnetic powder; in all honesty, I think I got the idea from a game in the children’s playroom at the Science Museum. I was impressed by its finish and by the way it resembled volcanic ash and dust, at a time when I had developed an interest in volcanoes as a subject matter for my work. 

From there, I became increasingly interested in how materials could actively transform painting itself. Iron filings oxidise when combined with paint and glue, producing reactions that resemble corrosion and erosion. Rather than simply depicting geological processes, I wanted the works to physically undergo processes of transformation.

A turning point was visiting the volcanic island of Milos in Greece, where I collected rocks from mining areas and later crushed them into different coloured sands to use within the paintings. These materials allowed me to engage directly with the geology of the landscape I was researching. In Re-Earth, materiality became both the subject and the method of the work, with the paintings evolving through physical and chemical reactions over time.

You exhibited one big painting and four smaller ones alongside a shelf with some of the materials you use to paint. What was the intended message behind this choice of layout and artwork composition?

The central large-scale painting in Re-Earth depicts an architectural structure gradually disintegrating back into its geological origins. The geometric form dissolves into strata and sediment, proposing a symbolic reversal of extraction and a return of material to the earth.

The four smaller paintings focused instead on geological processes that exist independently of human control: wind weathering, hydrolysis, volcanism, and biological weathering (Air, Water, Fire and Earth). Together, the works created a debate between natural transformation and human intervention.

Including the shelf with the volcanic rocks used in the paintings was important because I wanted the audience to engage more directly with the physicality of my work. The rocks represent geology in its most raw and elemental form and reinforce the idea of matter returning to its origin. Given the relevance of texture in my work, these materials also introduced a tactile experience to the installation, encouraging audience members to touch and hold the rocks.

Can you share an example of how you and your fellow artists inspired or learned from each other during the collaborative process of the residency?

One of the most valuable aspects of the residency was being surrounded by artists working across different media and approaches. Some of the other artists brought projects that merged different disciplines, from sculpture to paintings to textiles to installation, which encouraged me to think more spatially about my own work and about how painting could engage more directly with the exhibition environment.

I became increasingly interested in the idea of expanding painting beyond the canvas itself, particularly through the display of materials and the relationship between the work and the surrounding space.

Moreover, receiving feedback and hearing different perspectives helped me refine my project. The collaborative atmosphere created a continuous exchange of ideas that pushed my work into new conceptual and visual directions.

This collection explores the tension between the natural and the artificial, imagining a future where nature reclaims its role. How do you feel the audience responded to this collection? Did these works inspire new ideas for your future projects?

I think this project introduced a more emotional and reflective dimension to my practice that was less present in some of my previous work, which often focused more heavily on data. This allowed audiences to connect with the work in a more immediate and personal way. Visitors responded especially positively to the volcanic rocks included in the installation, materials that might otherwise be overlooked in everyday life, but in the context of the exhibition they revealed their texture, fragility, and inherent beauty.

Re-Earth marked a further shift in my practice because it pushed me to engage more directly with materiality and with the physical transformation of the artwork over time. It also opened new possibilities for working in a more spatial way.

An intention of this project was to bring together the two branches of my practice (architecture and geology) into one piece, and I am very pleased with the result.

Moreover, it has strengthened my interest in painting as a kind of geological process. I would like to continue expanding this research through larger-scale works, site-responsive projects, and installations that incorporate raw geological materials more directly into the exhibition space.

In what ways do you think art can influence people's perception of nature's role in our lives?

I think art can influence perception by making visible relationships that often remain abstract or overlooked. Scientific data and environmental research are essential, but art can translate these issues into a sensorial and emotional experience that people can connect to more directly.

In my work, I try to reflect on how disconnected we have become from natural processes, despite being deeply dependent on them. By using geological data and materials, I hope to encourage viewers to think about nature not as a passive resource to exploit but as an active force that continuously shapes the world around us, including the environments we build ourselves.

If you could give one piece of advice to future participants of this programme, what would it be?

Make the most of the weekly lectures and discussions throughout the programme. The lectures are deeply insightful, and many of the case studies and resources introduced are worth exploring further in your own time. I would also encourage you to actively engage in conversations and debates with one another, as some of the most valuable learning comes from exchanging ideas, discussing each other’s work, and being open to different perspectives.

Find out more about the artist here.

Cover image:

Water, Fire, Earth, Air: oil paint, iron oxide, iron filings, magnetic powder, crushed rocks on canvas, 40x40cm, £50 each, 2026. Image courtesy of IOAEA.