Both borrowing from, and subverting my training as an architect, I'm interested in exploring drawing not as resolute design, but as a methodical, exploratory process. My interest lies in what I would term organic specificity - images that are trapped between a natural fluidity and a drafted technical style. The result is a synthetic landscape that is ambiguous in terms of scale, volume and representational meaning, all which must be moderated by the viewers themselves. In this sense my drawings are equivalents of the grotesque a decorative style that evolved around 100 B.C. Geoffrey Galt Harpham, in his book On The Grotesque, Strategies of Contradiction in Art and Literature, notes its real threat:

Two systems of art were codified: the art of the center that had a subject and signified in an intelligible and coherent way with recognizable images arranged according to tradition and conventional schemata, and an art of the fringe that, at least in terms of the center, had no subject, yielded no meaning, and represented things that were not, nor could be, nor had ever been (32).

 

born: 1969, Bologna, Italy

education

Tulane University, Bachelor of Architecture
Harvard University, Master of Architecture

selected awards/honors

Juror's Merit Award, Florida Printmaker's 14th competition (drawing), 2005
Faculty Design Award, Harvard University, 1997
Thomas J. Lupo Award for Metropolitan Studies, Tulane University, 1992

selected publications

New Haven Register, December 24, 2005, review of 'Mapping' at Arts & Literature Laboratory
Seattle Post-Intelligencer, November 11, 2005, review of 2005 Center on Contemporary Art Annual
Paratactics, student journal, Harvard University, 1996
Art Papers, Dollhouse for the Anti-Millenium Competition, September/October 1993

selected group shows

Mapping, Arts & Literature Laboratory, New Haven, CT, 2005
2005 Center on Contemporary Art Annual, CoCA, Seattle, WA, 2005
Mirror, Mirror, Bernice Steinbaum Gallery, Miami, FL, 2004
No Show, Frederic Snitzer Gallery, Miami, FL, 2002