Filippo Tincolini is an Italian artist who expresses himself through sculpture. Born in 1976 in Pontedera, Tuscany, after spending time in numerous foundries and marble workshops in Pietrasanta, he studied "Sculpture" at the Academy of Fine Arts in Carrara. In 2001, after completing his studies, he opened his own workshop in Fantiscritti, at the foot of the quarries, where he still creates his works today.
The territory of Carrara, where the artist lives and works, has had a strong impact on his sculptural research, which is mainly expressed through the use of white marble, a material he works with experimentally. Tincolini's artistic approach has always aimed to harmoniously merge distant worlds such as fine craftsmanship and high-tech, tradition and visionary spirit, the canons of classical sculpture and pop inspirations, mythology and comics.
He is currently represented by private galleries and continues his exhibition activities in both public and private spaces. He is often invited to participate in international meetings on the language of sculpture and the use of robotics applied to the art world.

Filippo Tincolini is an Italian artist who expresses himself through sculpture. Born in 1976 in Pontedera, Tuscany, after spending time in numerous foundries and marble workshops in Pietrasanta, he studied "Sculpture" at the Academy of Fine Arts in Carrara. In 2001, after completing his studies, he opened his own workshop in Fantiscritti, at the foot of the quarries, where he still creates his works today.
The territory of Carrara, where the artist lives and works, has had a strong impact on his sculptural research, which is mainly expressed through the use of white marble, a material he works with experimentally. Tincolini's artistic approach has always aimed to harmoniously merge distant worlds such as fine craftsmanship and high-tech, tradition and visionary spirit, the canons of classical sculpture and pop inspirations, mythology and comics.
He is currently represented by private galleries and continues his exhibition activities in both public and private spaces. He is often invited to participate in international meetings on the language of sculpture and the use of robotics applied to the art world.

Filippo Tincolini is an Italian artist who expresses himself through sculpture. Born in 1976 in Pontedera, Tuscany, after spending time in numerous foundries and marble workshops in Pietrasanta, he studied "Sculpture" at the Academy of Fine Arts in Carrara. In 2001, after completing his studies, he opened his own workshop in Fantiscritti, at the foot of the quarries, where he still creates his works today.
The territory of Carrara, where the artist lives and works, has had a strong impact on his sculptural research, which is mainly expressed through the use of white marble, a material he works with experimentally. Tincolini's artistic approach has always aimed to harmoniously merge distant worlds such as fine craftsmanship and high-tech, tradition and visionary spirit, the canons of classical sculpture and pop inspirations, mythology and comics.
He is currently represented by private galleries and continues his exhibition activities in both public and private spaces. He is often invited to participate in international meetings on the language of sculpture and the use of robotics applied to the art world.

Born in 1969 in Ukraine, Oksana graduated from the Mitrofan Grekov Odesa State Art School in 1992. In the 1990s, she played a part in the decade's painting revival and later investigating relational art and scientific art practices. Already an established artist, in 2003 she earned a Bachelor of Philosophy from Odesa University. Oksana is working on a PhD on problems of art in the social media.
Highlights of Oksana's work include the POST-VS-PROTO-RENAISSANCE project (a prototype Archived August 3, 2020, at the Wayback Machine of the "ArtTogether" installation) presented at the 54th Venice Biennale in 2011 which became one of the most attended and widely covered pavilions of the Biennale. In 2013 the artist participated in the Collateral Events program of the 55th Venice Biennale with the "Quantum Prayer" Archived February 4, 2017, at the Wayback Machine project in the "Glasstress 2013" group exhibition . In 2012, Oksana won the Independent Critics Prize at the 65th Locarno International Film Festival.
Oksana's art has been shown at multiple exhibitions worldwide, including the "Women and Art" Archived February 4, 2017, at the Wayback Machine Biennial at the Sharjah Art Museum in 2014, the "Modus R. Russian Formalism Today" Archived November 27, 2016, at the Wayback Machine (part of the Art Basel Miami non-commercial program, 2006); the "MAS" Archived March 28, 2023, at the Wayback Machine exhibit at the Moscow Museum of Modern Art in 2008, as well as in FRIEZE (London), ARCO (Madrid), Fiac (Paris), The Armory Show (New York), Vienna Fair, Art Dubai and Art Karlsruhe.
Works by Oksana have been sold at the Sotheby's, Christie’s and Phillips auction houses. Her art-works can be found in museum and private collections in France, the United States, Great Britain, Italy, Switzerland, Japan, Ukraine, Arab Emirates, Russia and Australia.
Actor Kevin Spacey selected Oksana's work "Mandala Dance", together with pieces by Tracey Emin, Banksy, Jake and Dinos Chapman, Michael Craig-Martin for a charity auction, "Illuminating the Future", held by Christie's on February 10, 2014 to support the legendary Old Vic Theater. The ruling Prince of Monaco Albert II chose Oksana’s "Spheres of Good" installations to decorate Avenue Henri Dunant in the center of Monte-Carlo.
Oksana gives lectures on contemporary art at leading universities in the United States, the UK (Cambridge) and Germany. She is also a frequent guest speaker on history of art and philosophy.
Oksana currently lives and works in Spain, Poland and Ukraine.

Born in 1969 in Ukraine, Oksana graduated from the Mitrofan Grekov Odesa State Art School in 1992. In the 1990s, she played a part in the decade's painting revival and later investigating relational art and scientific art practices. Already an established artist, in 2003 she earned a Bachelor of Philosophy from Odesa University. Oksana is working on a PhD on problems of art in the social media.
Highlights of Oksana's work include the POST-VS-PROTO-RENAISSANCE project (a prototype Archived August 3, 2020, at the Wayback Machine of the "ArtTogether" installation) presented at the 54th Venice Biennale in 2011 which became one of the most attended and widely covered pavilions of the Biennale. In 2013 the artist participated in the Collateral Events program of the 55th Venice Biennale with the "Quantum Prayer" Archived February 4, 2017, at the Wayback Machine project in the "Glasstress 2013" group exhibition . In 2012, Oksana won the Independent Critics Prize at the 65th Locarno International Film Festival.
Oksana's art has been shown at multiple exhibitions worldwide, including the "Women and Art" Archived February 4, 2017, at the Wayback Machine Biennial at the Sharjah Art Museum in 2014, the "Modus R. Russian Formalism Today" Archived November 27, 2016, at the Wayback Machine (part of the Art Basel Miami non-commercial program, 2006); the "MAS" Archived March 28, 2023, at the Wayback Machine exhibit at the Moscow Museum of Modern Art in 2008, as well as in FRIEZE (London), ARCO (Madrid), Fiac (Paris), The Armory Show (New York), Vienna Fair, Art Dubai and Art Karlsruhe.
Works by Oksana have been sold at the Sotheby's, Christie’s and Phillips auction houses. Her art-works can be found in museum and private collections in France, the United States, Great Britain, Italy, Switzerland, Japan, Ukraine, Arab Emirates, Russia and Australia.
Actor Kevin Spacey selected Oksana's work "Mandala Dance", together with pieces by Tracey Emin, Banksy, Jake and Dinos Chapman, Michael Craig-Martin for a charity auction, "Illuminating the Future", held by Christie's on February 10, 2014 to support the legendary Old Vic Theater. The ruling Prince of Monaco Albert II chose Oksana’s "Spheres of Good" installations to decorate Avenue Henri Dunant in the center of Monte-Carlo.
Oksana gives lectures on contemporary art at leading universities in the United States, the UK (Cambridge) and Germany. She is also a frequent guest speaker on history of art and philosophy.
Oksana currently lives and works in Spain, Poland and Ukraine.

Born in 1969 in Ukraine, Oksana graduated from the Mitrofan Grekov Odesa State Art School in 1992. In the 1990s, she played a part in the decade's painting revival and later investigating relational art and scientific art practices. Already an established artist, in 2003 she earned a Bachelor of Philosophy from Odesa University. Oksana is working on a PhD on problems of art in the social media.
Highlights of Oksana's work include the POST-VS-PROTO-RENAISSANCE project (a prototype Archived August 3, 2020, at the Wayback Machine of the "ArtTogether" installation) presented at the 54th Venice Biennale in 2011 which became one of the most attended and widely covered pavilions of the Biennale. In 2013 the artist participated in the Collateral Events program of the 55th Venice Biennale with the "Quantum Prayer" Archived February 4, 2017, at the Wayback Machine project in the "Glasstress 2013" group exhibition . In 2012, Oksana won the Independent Critics Prize at the 65th Locarno International Film Festival.
Oksana's art has been shown at multiple exhibitions worldwide, including the "Women and Art" Archived February 4, 2017, at the Wayback Machine Biennial at the Sharjah Art Museum in 2014, the "Modus R. Russian Formalism Today" Archived November 27, 2016, at the Wayback Machine (part of the Art Basel Miami non-commercial program, 2006); the "MAS" Archived March 28, 2023, at the Wayback Machine exhibit at the Moscow Museum of Modern Art in 2008, as well as in FRIEZE (London), ARCO (Madrid), Fiac (Paris), The Armory Show (New York), Vienna Fair, Art Dubai and Art Karlsruhe.
Works by Oksana have been sold at the Sotheby's, Christie’s and Phillips auction houses. Her art-works can be found in museum and private collections in France, the United States, Great Britain, Italy, Switzerland, Japan, Ukraine, Arab Emirates, Russia and Australia.
Actor Kevin Spacey selected Oksana's work "Mandala Dance", together with pieces by Tracey Emin, Banksy, Jake and Dinos Chapman, Michael Craig-Martin for a charity auction, "Illuminating the Future", held by Christie's on February 10, 2014 to support the legendary Old Vic Theater. The ruling Prince of Monaco Albert II chose Oksana’s "Spheres of Good" installations to decorate Avenue Henri Dunant in the center of Monte-Carlo.
Oksana gives lectures on contemporary art at leading universities in the United States, the UK (Cambridge) and Germany. She is also a frequent guest speaker on history of art and philosophy.
Oksana currently lives and works in Spain, Poland and Ukraine.

Born in 1969 in Ukraine, Oksana graduated from the Mitrofan Grekov Odesa State Art School in 1992. In the 1990s, she played a part in the decade's painting revival and later investigating relational art and scientific art practices. Already an established artist, in 2003 she earned a Bachelor of Philosophy from Odesa University. Oksana is working on a PhD on problems of art in the social media.
Highlights of Oksana's work include the POST-VS-PROTO-RENAISSANCE project (a prototype Archived August 3, 2020, at the Wayback Machine of the "ArtTogether" installation) presented at the 54th Venice Biennale in 2011 which became one of the most attended and widely covered pavilions of the Biennale. In 2013 the artist participated in the Collateral Events program of the 55th Venice Biennale with the "Quantum Prayer" Archived February 4, 2017, at the Wayback Machine project in the "Glasstress 2013" group exhibition . In 2012, Oksana won the Independent Critics Prize at the 65th Locarno International Film Festival.
Oksana's art has been shown at multiple exhibitions worldwide, including the "Women and Art" Archived February 4, 2017, at the Wayback Machine Biennial at the Sharjah Art Museum in 2014, the "Modus R. Russian Formalism Today" Archived November 27, 2016, at the Wayback Machine (part of the Art Basel Miami non-commercial program, 2006); the "MAS" Archived March 28, 2023, at the Wayback Machine exhibit at the Moscow Museum of Modern Art in 2008, as well as in FRIEZE (London), ARCO (Madrid), Fiac (Paris), The Armory Show (New York), Vienna Fair, Art Dubai and Art Karlsruhe.
Works by Oksana have been sold at the Sotheby's, Christie’s and Phillips auction houses. Her art-works can be found in museum and private collections in France, the United States, Great Britain, Italy, Switzerland, Japan, Ukraine, Arab Emirates, Russia and Australia.
Actor Kevin Spacey selected Oksana's work "Mandala Dance", together with pieces by Tracey Emin, Banksy, Jake and Dinos Chapman, Michael Craig-Martin for a charity auction, "Illuminating the Future", held by Christie's on February 10, 2014 to support the legendary Old Vic Theater. The ruling Prince of Monaco Albert II chose Oksana’s "Spheres of Good" installations to decorate Avenue Henri Dunant in the center of Monte-Carlo.
Oksana gives lectures on contemporary art at leading universities in the United States, the UK (Cambridge) and Germany. She is also a frequent guest speaker on history of art and philosophy.
Oksana currently lives and works in Spain, Poland and Ukraine.

Born in 1969 in Ukraine, Oksana graduated from the Mitrofan Grekov Odesa State Art School in 1992. In the 1990s, she played a part in the decade's painting revival and later investigating relational art and scientific art practices. Already an established artist, in 2003 she earned a Bachelor of Philosophy from Odesa University. Oksana is working on a PhD on problems of art in the social media.
Highlights of Oksana's work include the POST-VS-PROTO-RENAISSANCE project (a prototype Archived August 3, 2020, at the Wayback Machine of the "ArtTogether" installation) presented at the 54th Venice Biennale in 2011 which became one of the most attended and widely covered pavilions of the Biennale. In 2013 the artist participated in the Collateral Events program of the 55th Venice Biennale with the "Quantum Prayer" Archived February 4, 2017, at the Wayback Machine project in the "Glasstress 2013" group exhibition . In 2012, Oksana won the Independent Critics Prize at the 65th Locarno International Film Festival.
Oksana's art has been shown at multiple exhibitions worldwide, including the "Women and Art" Archived February 4, 2017, at the Wayback Machine Biennial at the Sharjah Art Museum in 2014, the "Modus R. Russian Formalism Today" Archived November 27, 2016, at the Wayback Machine (part of the Art Basel Miami non-commercial program, 2006); the "MAS" Archived March 28, 2023, at the Wayback Machine exhibit at the Moscow Museum of Modern Art in 2008, as well as in FRIEZE (London), ARCO (Madrid), Fiac (Paris), The Armory Show (New York), Vienna Fair, Art Dubai and Art Karlsruhe.
Works by Oksana have been sold at the Sotheby's, Christie’s and Phillips auction houses. Her art-works can be found in museum and private collections in France, the United States, Great Britain, Italy, Switzerland, Japan, Ukraine, Arab Emirates, Russia and Australia.
Actor Kevin Spacey selected Oksana's work "Mandala Dance", together with pieces by Tracey Emin, Banksy, Jake and Dinos Chapman, Michael Craig-Martin for a charity auction, "Illuminating the Future", held by Christie's on February 10, 2014 to support the legendary Old Vic Theater. The ruling Prince of Monaco Albert II chose Oksana’s "Spheres of Good" installations to decorate Avenue Henri Dunant in the center of Monte-Carlo.
Oksana gives lectures on contemporary art at leading universities in the United States, the UK (Cambridge) and Germany. She is also a frequent guest speaker on history of art and philosophy.
Oksana currently lives and works in Spain, Poland and Ukraine.

Zhivago Duncan was born in Terre Haute, Indiana to a Syrian mother and a Danish father. His fluidity across materials and cultural signifiers reflects the relentlessness of an investigative mind. With freewheeling creativity spurred by his curiosity, Duncan’s lifelong impulse towards painting reflects his desire to contemplate, negotiate and comprehend the “big picture”: the origins of sentient life and the universality of consciousness. The artist locates his obsession with creation myths to 2011, when his family’s plans to visit their homeland for the first time were disrupted by the outbreak of the ongoing Syrian Civil War. Investigating the region from afar, Duncan became absorbed by historical accounts of life in the Fertile Crescent, as well as the mythologies that arose from its earliest civilizations – still relevant for their psychic potency today.
In 2007 Duncan received his BFA in painting from Chelsea College of art and Design London. His works are in the collections of the Perez Art Museum Miami, the Saatchi Collection London, the Barjeel Foundation Sharjah, the Olbricht Collection Berlin and various private collections worldwide.

Zhivago Duncan was born in Terre Haute, Indiana to a Syrian mother and a Danish father. His fluidity across materials and cultural signifiers reflects the relentlessness of an investigative mind. With freewheeling creativity spurred by his curiosity, Duncan’s lifelong impulse towards painting reflects his desire to contemplate, negotiate and comprehend the “big picture”: the origins of sentient life and the universality of consciousness. The artist locates his obsession with creation myths to 2011, when his family’s plans to visit their homeland for the first time were disrupted by the outbreak of the ongoing Syrian Civil War. Investigating the region from afar, Duncan became absorbed by historical accounts of life in the Fertile Crescent, as well as the mythologies that arose from its earliest civilizations – still relevant for their psychic potency today.
In 2007 Duncan received his BFA in painting from Chelsea College of art and Design London. His works are in the collections of the Perez Art Museum Miami, the Saatchi Collection London, the Barjeel Foundation Sharjah, the Olbricht Collection Berlin and various private collections worldwide.

Zhivago Duncan was born in Terre Haute, Indiana to a Syrian mother and a Danish father. His fluidity across materials and cultural signifiers reflects the relentlessness of an investigative mind. With freewheeling creativity spurred by his curiosity, Duncan’s lifelong impulse towards painting reflects his desire to contemplate, negotiate and comprehend the “big picture”: the origins of sentient life and the universality of consciousness. The artist locates his obsession with creation myths to 2011, when his family’s plans to visit their homeland for the first time were disrupted by the outbreak of the ongoing Syrian Civil War. Investigating the region from afar, Duncan became absorbed by historical accounts of life in the Fertile Crescent, as well as the mythologies that arose from its earliest civilizations – still relevant for their psychic potency today.
In 2007 Duncan received his BFA in painting from Chelsea College of art and Design London. His works are in the collections of the Perez Art Museum Miami, the Saatchi Collection London, the Barjeel Foundation Sharjah, the Olbricht Collection Berlin and various private collections worldwide.

Zhivago Duncan was born in Terre Haute, Indiana to a Syrian mother and a Danish father. His fluidity across materials and cultural signifiers reflects the relentlessness of an investigative mind. With freewheeling creativity spurred by his curiosity, Duncan’s lifelong impulse towards painting reflects his desire to contemplate, negotiate and comprehend the “big picture”: the origins of sentient life and the universality of consciousness. The artist locates his obsession with creation myths to 2011, when his family’s plans to visit their homeland for the first time were disrupted by the outbreak of the ongoing Syrian Civil War. Investigating the region from afar, Duncan became absorbed by historical accounts of life in the Fertile Crescent, as well as the mythologies that arose from its earliest civilizations – still relevant for their psychic potency today.
In 2007 Duncan received his BFA in painting from Chelsea College of art and Design London. His works are in the collections of the Perez Art Museum Miami, the Saatchi Collection London, the Barjeel Foundation Sharjah, the Olbricht Collection Berlin and various private collections worldwide.

Zhivago Duncan was born in Terre Haute, Indiana to a Syrian mother and a Danish father. His fluidity across materials and cultural signifiers reflects the relentlessness of an investigative mind. With freewheeling creativity spurred by his curiosity, Duncan’s lifelong impulse towards painting reflects his desire to contemplate, negotiate and comprehend the “big picture”: the origins of sentient life and the universality of consciousness. The artist locates his obsession with creation myths to 2011, when his family’s plans to visit their homeland for the first time were disrupted by the outbreak of the ongoing Syrian Civil War. Investigating the region from afar, Duncan became absorbed by historical accounts of life in the Fertile Crescent, as well as the mythologies that arose from its earliest civilizations – still relevant for their psychic potency today.
In 2007 Duncan received his BFA in painting from Chelsea College of art and Design London. His works are in the collections of the Perez Art Museum Miami, the Saatchi Collection London, the Barjeel Foundation Sharjah, the Olbricht Collection Berlin and various private collections worldwide.

Saba Masoumian was born in Tehran in 1982; after earning a diploma in graphic design from Azad University, she moved to the Academy of Fine Arts in Bologna.
She has held solo exhibitions in Tehran and Dubai, and her work has been featured in numerous group exhibitions in Bologna. Additionally, she has participated in the Monza Young Artists' Biennial, the "Dimension of Civilization" conference at the Yinchuan Museum of Contemporary Art, and the exhibition "1001 Colors: Contemporary Art from Iran" in New York City.
In 2015, she received the Premio Ora in Verona, and in 2007, she won the Golden Pen Award at the Belgrade Illustration Biennial.

Born in Cesena in 1974, Amanda Chiarucci earned a classi-
cal high school diploma in Forlì and a diploma in Painting
and Costume for Performing Arts from the Academy of
Fine Arts in Bologna. Her artistic beginnings were linked
to happenings and performance. She subsequently creat-
ed several series of works—”Ninfa,” “Camicie di Straitjack-
et,” “Matrjoske,” and “Madonne”—dedicated to exploring
the female figure, between past and present, everyday life and sacredness. Her first solo
exhibition, “Matrjoske,” was held at the Galleria del Loggiato in Cesena. In 2005, she was
among the winners of the Premio Celeste, in the Media Painting category, with the work
“Finché il mio sangue non sia puro,” and participated in the group show “Young Italian
Painters” at the Sacy Gallery in Florence. 2007 began with the series of self-portraits
and photographic portraits “Madonne,” exhibited at the Spazio Cotogni in Forlì, curated
by Giovanni Gardini. In 2014, he exhibited at the MEAM, European Museum of Modern
Art in Barcelona as part of the group show “Martyrium Sanctae Eulaliae” and at the
MUSAS, Historical Archaeological Museum of Santarcangelo (RN) as part of the group
show “Drawn Writing: Notebooks of Contemporary Artists and Writers between Draw-
ing, Words, and Everyday Invention,” curated by Claudio Ballestracci and Dacia Manto,
as part of the Rimini Drawing Biennial. In 2013, he created the project “Talee,” using a
completely different technique than those previously used (Golden Venture) to explore a
fundamental theme in life: time. This led to the solo exhibition “The Feeling of Evolution”
at the Luigi Michelacci Gallery in Meldola (FC) in 2015 and the group shows “Parallel Di-
alogues” at the Lara and Rino Costa Gallery in Valenza (AL) and “Sculpture is a Serious
Thing” at the Bonioni Arte Gallery in Reggio Emilia, curated by Niccolò Bonechi. In 2018,
he participated in the “Cantiere Disegno” section of the Rimini Drawing Biennale, in the
section curated by Massimo Pulini at the Rimini City Museum. In recent years, he has par-
ticipated in contemporary art fairs, especially in Northern Italy, together with the Galleria
Lara e Rino Costa Contemporanea in Valenza, as well as ArteFiera in Bologna, ArtVerona,
and Bergamo Arte Fiera. He lives and works in Meldola, in the province of Forlì.

Born in Cesena in 1974, Amanda Chiarucci earned a classi-
cal high school diploma in Forlì and a diploma in Painting
and Costume for Performing Arts from the Academy of
Fine Arts in Bologna. Her artistic beginnings were linked
to happenings and performance. She subsequently creat-
ed several series of works—”Ninfa,” “Camicie di Straitjack-
et,” “Matrjoske,” and “Madonne”—dedicated to exploring
the female figure, between past and present, everyday life and sacredness. Her first solo
exhibition, “Matrjoske,” was held at the Galleria del Loggiato in Cesena. In 2005, she was
among the winners of the Premio Celeste, in the Media Painting category, with the work
“Finché il mio sangue non sia puro,” and participated in the group show “Young Italian
Painters” at the Sacy Gallery in Florence. 2007 began with the series of self-portraits
and photographic portraits “Madonne,” exhibited at the Spazio Cotogni in Forlì, curated
by Giovanni Gardini. In 2014, he exhibited at the MEAM, European Museum of Modern
Art in Barcelona as part of the group show “Martyrium Sanctae Eulaliae” and at the
MUSAS, Historical Archaeological Museum of Santarcangelo (RN) as part of the group
show “Drawn Writing: Notebooks of Contemporary Artists and Writers between Draw-
ing, Words, and Everyday Invention,” curated by Claudio Ballestracci and Dacia Manto,
as part of the Rimini Drawing Biennial. In 2013, he created the project “Talee,” using a
completely different technique than those previously used (Golden Venture) to explore a
fundamental theme in life: time. This led to the solo exhibition “The Feeling of Evolution”
at the Luigi Michelacci Gallery in Meldola (FC) in 2015 and the group shows “Parallel Di-
alogues” at the Lara and Rino Costa Gallery in Valenza (AL) and “Sculpture is a Serious
Thing” at the Bonioni Arte Gallery in Reggio Emilia, curated by Niccolò Bonechi. In 2018,
he participated in the “Cantiere Disegno” section of the Rimini Drawing Biennale, in the
section curated by Massimo Pulini at the Rimini City Museum. In recent years, he has par-
ticipated in contemporary art fairs, especially in Northern Italy, together with the Galleria
Lara e Rino Costa Contemporanea in Valenza, as well as ArteFiera in Bologna, ArtVerona,
and Bergamo Arte Fiera. He lives and works in Meldola, in the province of Forlì.

Born in Cesena in 1974, Amanda Chiarucci earned a classi-
cal high school diploma in Forlì and a diploma in Painting
and Costume for Performing Arts from the Academy of
Fine Arts in Bologna. Her artistic beginnings were linked
to happenings and performance. She subsequently creat-
ed several series of works—”Ninfa,” “Camicie di Straitjack-
et,” “Matrjoske,” and “Madonne”—dedicated to exploring
the female figure, between past and present, everyday life and sacredness. Her first solo
exhibition, “Matrjoske,” was held at the Galleria del Loggiato in Cesena. In 2005, she was
among the winners of the Premio Celeste, in the Media Painting category, with the work
“Finché il mio sangue non sia puro,” and participated in the group show “Young Italian
Painters” at the Sacy Gallery in Florence. 2007 began with the series of self-portraits
and photographic portraits “Madonne,” exhibited at the Spazio Cotogni in Forlì, curated
by Giovanni Gardini. In 2014, he exhibited at the MEAM, European Museum of Modern
Art in Barcelona as part of the group show “Martyrium Sanctae Eulaliae” and at the
MUSAS, Historical Archaeological Museum of Santarcangelo (RN) as part of the group
show “Drawn Writing: Notebooks of Contemporary Artists and Writers between Draw-
ing, Words, and Everyday Invention,” curated by Claudio Ballestracci and Dacia Manto,
as part of the Rimini Drawing Biennial. In 2013, he created the project “Talee,” using a
completely different technique than those previously used (Golden Venture) to explore a
fundamental theme in life: time. This led to the solo exhibition “The Feeling of Evolution”
at the Luigi Michelacci Gallery in Meldola (FC) in 2015 and the group shows “Parallel Di-
alogues” at the Lara and Rino Costa Gallery in Valenza (AL) and “Sculpture is a Serious
Thing” at the Bonioni Arte Gallery in Reggio Emilia, curated by Niccolò Bonechi. In 2018,
he participated in the “Cantiere Disegno” section of the Rimini Drawing Biennale, in the
section curated by Massimo Pulini at the Rimini City Museum. In recent years, he has par-
ticipated in contemporary art fairs, especially in Northern Italy, together with the Galleria
Lara e Rino Costa Contemporanea in Valenza, as well as ArteFiera in Bologna, ArtVerona,
and Bergamo Arte Fiera. He lives and works in Meldola, in the province of Forlì.

Born in Cesena in 1974, Amanda Chiarucci earned a classi-
cal high school diploma in Forlì and a diploma in Painting
and Costume for Performing Arts from the Academy of
Fine Arts in Bologna. Her artistic beginnings were linked
to happenings and performance. She subsequently creat-
ed several series of works—”Ninfa,” “Camicie di Straitjack-
et,” “Matrjoske,” and “Madonne”—dedicated to exploring
the female figure, between past and present, everyday life and sacredness. Her first solo
exhibition, “Matrjoske,” was held at the Galleria del Loggiato in Cesena. In 2005, she was
among the winners of the Premio Celeste, in the Media Painting category, with the work
“Finché il mio sangue non sia puro,” and participated in the group show “Young Italian
Painters” at the Sacy Gallery in Florence. 2007 began with the series of self-portraits
and photographic portraits “Madonne,” exhibited at the Spazio Cotogni in Forlì, curated
by Giovanni Gardini. In 2014, he exhibited at the MEAM, European Museum of Modern
Art in Barcelona as part of the group show “Martyrium Sanctae Eulaliae” and at the
MUSAS, Historical Archaeological Museum of Santarcangelo (RN) as part of the group
show “Drawn Writing: Notebooks of Contemporary Artists and Writers between Draw-
ing, Words, and Everyday Invention,” curated by Claudio Ballestracci and Dacia Manto,
as part of the Rimini Drawing Biennial. In 2013, he created the project “Talee,” using a
completely different technique than those previously used (Golden Venture) to explore a
fundamental theme in life: time. This led to the solo exhibition “The Feeling of Evolution”
at the Luigi Michelacci Gallery in Meldola (FC) in 2015 and the group shows “Parallel Di-
alogues” at the Lara and Rino Costa Gallery in Valenza (AL) and “Sculpture is a Serious
Thing” at the Bonioni Arte Gallery in Reggio Emilia, curated by Niccolò Bonechi. In 2018,
he participated in the “Cantiere Disegno” section of the Rimini Drawing Biennale, in the
section curated by Massimo Pulini at the Rimini City Museum. In recent years, he has par-
ticipated in contemporary art fairs, especially in Northern Italy, together with the Galleria
Lara e Rino Costa Contemporanea in Valenza, as well as ArteFiera in Bologna, ArtVerona,
and Bergamo Arte Fiera. He lives and works in Meldola, in the province of Forlì.

Born in Cesena in 1974, Amanda Chiarucci earned a classi-
cal high school diploma in Forlì and a diploma in Painting
and Costume for Performing Arts from the Academy of
Fine Arts in Bologna. Her artistic beginnings were linked
to happenings and performance. She subsequently creat-
ed several series of works—”Ninfa,” “Camicie di Straitjack-
et,” “Matrjoske,” and “Madonne”—dedicated to exploring
the female figure, between past and present, everyday life and sacredness. Her first solo
exhibition, “Matrjoske,” was held at the Galleria del Loggiato in Cesena. In 2005, she was
among the winners of the Premio Celeste, in the Media Painting category, with the work
“Finché il mio sangue non sia puro,” and participated in the group show “Young Italian
Painters” at the Sacy Gallery in Florence. 2007 began with the series of self-portraits
and photographic portraits “Madonne,” exhibited at the Spazio Cotogni in Forlì, curated
by Giovanni Gardini. In 2014, he exhibited at the MEAM, European Museum of Modern
Art in Barcelona as part of the group show “Martyrium Sanctae Eulaliae” and at the
MUSAS, Historical Archaeological Museum of Santarcangelo (RN) as part of the group
show “Drawn Writing: Notebooks of Contemporary Artists and Writers between Draw-
ing, Words, and Everyday Invention,” curated by Claudio Ballestracci and Dacia Manto,
as part of the Rimini Drawing Biennial. In 2013, he created the project “Talee,” using a
completely different technique than those previously used (Golden Venture) to explore a
fundamental theme in life: time. This led to the solo exhibition “The Feeling of Evolution”
at the Luigi Michelacci Gallery in Meldola (FC) in 2015 and the group shows “Parallel Di-
alogues” at the Lara and Rino Costa Gallery in Valenza (AL) and “Sculpture is a Serious
Thing” at the Bonioni Arte Gallery in Reggio Emilia, curated by Niccolò Bonechi. In 2018,
he participated in the “Cantiere Disegno” section of the Rimini Drawing Biennale, in the
section curated by Massimo Pulini at the Rimini City Museum. In recent years, he has par-
ticipated in contemporary art fairs, especially in Northern Italy, together with the Galleria
Lara e Rino Costa Contemporanea in Valenza, as well as ArteFiera in Bologna, ArtVerona,
and Bergamo Arte Fiera. He lives and works in Meldola, in the province of Forlì.

Born in Cesena in 1974, Amanda Chiarucci earned a classi-
cal high school diploma in Forlì and a diploma in Painting
and Costume for Performing Arts from the Academy of
Fine Arts in Bologna. Her artistic beginnings were linked
to happenings and performance. She subsequently creat-
ed several series of works—”Ninfa,” “Camicie di Straitjack-
et,” “Matrjoske,” and “Madonne”—dedicated to exploring
the female figure, between past and present, everyday life and sacredness. Her first solo
exhibition, “Matrjoske,” was held at the Galleria del Loggiato in Cesena. In 2005, she was
among the winners of the Premio Celeste, in the Media Painting category, with the work
“Finché il mio sangue non sia puro,” and participated in the group show “Young Italian
Painters” at the Sacy Gallery in Florence. 2007 began with the series of self-portraits
and photographic portraits “Madonne,” exhibited at the Spazio Cotogni in Forlì, curated
by Giovanni Gardini. In 2014, he exhibited at the MEAM, European Museum of Modern
Art in Barcelona as part of the group show “Martyrium Sanctae Eulaliae” and at the
MUSAS, Historical Archaeological Museum of Santarcangelo (RN) as part of the group
show “Drawn Writing: Notebooks of Contemporary Artists and Writers between Draw-
ing, Words, and Everyday Invention,” curated by Claudio Ballestracci and Dacia Manto,
as part of the Rimini Drawing Biennial. In 2013, he created the project “Talee,” using a
completely different technique than those previously used (Golden Venture) to explore a
fundamental theme in life: time. This led to the solo exhibition “The Feeling of Evolution”
at the Luigi Michelacci Gallery in Meldola (FC) in 2015 and the group shows “Parallel Di-
alogues” at the Lara and Rino Costa Gallery in Valenza (AL) and “Sculpture is a Serious
Thing” at the Bonioni Arte Gallery in Reggio Emilia, curated by Niccolò Bonechi. In 2018,
he participated in the “Cantiere Disegno” section of the Rimini Drawing Biennale, in the
section curated by Massimo Pulini at the Rimini City Museum. In recent years, he has par-
ticipated in contemporary art fairs, especially in Northern Italy, together with the Galleria
Lara e Rino Costa Contemporanea in Valenza, as well as ArteFiera in Bologna, ArtVerona,
and Bergamo Arte Fiera. He lives and works in Meldola, in the province of Forlì.

Theo Gallino was born in Poirino in 1957 and lives and works in Chieri (Turin). After studying graphic design, he dedicated himself to painting, sculpture, and photography.
Experimentation with diverse techniques and materials has been a constant feature of his work since 1989—the year of his first solo exhibition at the Galleria Dialoghi in Biella, curated by Francesco Poli (who would go on to present his work the following year at the Centre d’Art Contemporain in Girona).
The common thread running through his career of over thirty years is a network of interconnections between works, where the instinct for survival, the power of imagination, and the sense of time find their full resolution only in relation to humanity. Gallino’s artistic inquiry transcends the purely lyrical and dreamlike to foster a new consciousness of change—one that is distinctly modern in its approach to identity, social issues, and ecology. His use of bubble wrap across many of his series serves not merely as an intriguing exploration of material or a personal stylistic choice, but as a poignant metaphor for the emotional numbness of contemporary man.
Notable recent exhibitions include *Comunicazione con guanti* at Palazzo Lomellini, Carmagnola (Turin), curated by Tommaso Trini; *Mito Moto Meta* at Nadia Bassanese Studio d’Arte, Trieste, curated by Maurizio Sciaccaluga (1995); *Theo Gallino – Personale* at the Velan Centre for Contemporary Art, Turin, curated by Edoardo Di Mauro (2002); *Viaggio con Keith Haring* at Galleria Alfonso Giannone, Forte dei Marmi (Pisa); *AA. VV. Autori Van* at Biasutti & Biasutti, Turin (2005); the Ca’ La Ghironda Foundation – Museum of Modern and Contemporary Art, Zola Predosa (Bologna) (2008); and *Fumetto Proibito* at Spazio 6, Verona (2009). CRAB, Brera Academy Research Center, former Church of San Carpoforo, Milan (2011); Codex, Spazio Maurizio Colombo, Turin (2013); Alchimie e trasparenze, curated by Cinzia Tesio, Salone della Provincia, Cuneo (2014); Mimetico non solo, curated by Edoardo Di Mauro, Galleria Spazio, Turin (2015); Proposizioni, curated by Raffaella A. Caruso, Galleria Lara&Rino Costa, Valenza; TRANSITI, Palazzo Lascaris, Turin, a group exhibition promoted by the Regional Council of Piedmont and curated by Raffaella A. Caruso (2019); La città dei pollini, public installation, under the patronage of the Municipality of Gorgonzola, Gorgonzola.

Theo Gallino was born in Poirino in 1957 and lives and works in Chieri (Turin). After studying graphic design, he dedicated himself to painting, sculpture, and photography.
Experimentation with diverse techniques and materials has been a constant feature of his work since 1989—the year of his first solo exhibition at the Galleria Dialoghi in Biella, curated by Francesco Poli (who would go on to present his work the following year at the Centre d’Art Contemporain in Girona).
The common thread running through his career of over thirty years is a network of interconnections between works, where the instinct for survival, the power of imagination, and the sense of time find their full resolution only in relation to humanity. Gallino’s artistic inquiry transcends the purely lyrical and dreamlike to foster a new consciousness of change—one that is distinctly modern in its approach to identity, social issues, and ecology. His use of bubble wrap across many of his series serves not merely as an intriguing exploration of material or a personal stylistic choice, but as a poignant metaphor for the emotional numbness of contemporary man.
Notable recent exhibitions include *Comunicazione con guanti* at Palazzo Lomellini, Carmagnola (Turin), curated by Tommaso Trini; *Mito Moto Meta* at Nadia Bassanese Studio d’Arte, Trieste, curated by Maurizio Sciaccaluga (1995); *Theo Gallino – Personale* at the Velan Centre for Contemporary Art, Turin, curated by Edoardo Di Mauro (2002); *Viaggio con Keith Haring* at Galleria Alfonso Giannone, Forte dei Marmi (Pisa); *AA. VV. Autori Van* at Biasutti & Biasutti, Turin (2005); the Ca’ La Ghironda Foundation – Museum of Modern and Contemporary Art, Zola Predosa (Bologna) (2008); and *Fumetto Proibito* at Spazio 6, Verona (2009). CRAB, Brera Academy Research Center, former Church of San Carpoforo, Milan (2011); Codex, Spazio Maurizio Colombo, Turin (2013); Alchimie e trasparenze, curated by Cinzia Tesio, Salone della Provincia, Cuneo (2014); Mimetico non solo, curated by Edoardo Di Mauro, Galleria Spazio, Turin (2015); Proposizioni, curated by Raffaella A. Caruso, Galleria Lara&Rino Costa, Valenza; TRANSITI, Palazzo Lascaris, Turin, a group exhibition promoted by the Regional Council of Piedmont and curated by Raffaella A. Caruso (2019); La città dei pollini, public installation, under the patronage of the Municipality of Gorgonzola, Gorgonzola.

Theo Gallino was born in Poirino in 1957 and lives and works in Chieri (Turin). After studying graphic design, he dedicated himself to painting, sculpture, and photography.
Experimentation with diverse techniques and materials has been a constant feature of his work since 1989—the year of his first solo exhibition at the Galleria Dialoghi in Biella, curated by Francesco Poli (who would go on to present his work the following year at the Centre d’Art Contemporain in Girona).
The common thread running through his career of over thirty years is a network of interconnections between works, where the instinct for survival, the power of imagination, and the sense of time find their full resolution only in relation to humanity. Gallino’s artistic inquiry transcends the purely lyrical and dreamlike to foster a new consciousness of change—one that is distinctly modern in its approach to identity, social issues, and ecology. His use of bubble wrap across many of his series serves not merely as an intriguing exploration of material or a personal stylistic choice, but as a poignant metaphor for the emotional numbness of contemporary man.
Notable recent exhibitions include *Comunicazione con guanti* at Palazzo Lomellini, Carmagnola (Turin), curated by Tommaso Trini; *Mito Moto Meta* at Nadia Bassanese Studio d’Arte, Trieste, curated by Maurizio Sciaccaluga (1995); *Theo Gallino – Personale* at the Velan Centre for Contemporary Art, Turin, curated by Edoardo Di Mauro (2002); *Viaggio con Keith Haring* at Galleria Alfonso Giannone, Forte dei Marmi (Pisa); *AA. VV. Autori Van* at Biasutti & Biasutti, Turin (2005); the Ca’ La Ghironda Foundation – Museum of Modern and Contemporary Art, Zola Predosa (Bologna) (2008); and *Fumetto Proibito* at Spazio 6, Verona (2009). CRAB, Brera Academy Research Center, former Church of San Carpoforo, Milan (2011); Codex, Spazio Maurizio Colombo, Turin (2013); Alchimie e trasparenze, curated by Cinzia Tesio, Salone della Provincia, Cuneo (2014); Mimetico non solo, curated by Edoardo Di Mauro, Galleria Spazio, Turin (2015); Proposizioni, curated by Raffaella A. Caruso, Galleria Lara&Rino Costa, Valenza; TRANSITI, Palazzo Lascaris, Turin, a group exhibition promoted by the Regional Council of Piedmont and curated by Raffaella A. Caruso (2019); La città dei pollini, public installation, under the patronage of the Municipality of Gorgonzola, Gorgonzola.

Theo Gallino was born in Poirino in 1957 and lives and works in Chieri (Turin). After studying graphic design, he dedicated himself to painting, sculpture, and photography.
Experimentation with diverse techniques and materials has been a constant feature of his work since 1989—the year of his first solo exhibition at the Galleria Dialoghi in Biella, curated by Francesco Poli (who would go on to present his work the following year at the Centre d’Art Contemporain in Girona).
The common thread running through his career of over thirty years is a network of interconnections between works, where the instinct for survival, the power of imagination, and the sense of time find their full resolution only in relation to humanity. Gallino’s artistic inquiry transcends the purely lyrical and dreamlike to foster a new consciousness of change—one that is distinctly modern in its approach to identity, social issues, and ecology. His use of bubble wrap across many of his series serves not merely as an intriguing exploration of material or a personal stylistic choice, but as a poignant metaphor for the emotional numbness of contemporary man.
Notable recent exhibitions include *Comunicazione con guanti* at Palazzo Lomellini, Carmagnola (Turin), curated by Tommaso Trini; *Mito Moto Meta* at Nadia Bassanese Studio d’Arte, Trieste, curated by Maurizio Sciaccaluga (1995); *Theo Gallino – Personale* at the Velan Centre for Contemporary Art, Turin, curated by Edoardo Di Mauro (2002); *Viaggio con Keith Haring* at Galleria Alfonso Giannone, Forte dei Marmi (Pisa); *AA. VV. Autori Van* at Biasutti & Biasutti, Turin (2005); the Ca’ La Ghironda Foundation – Museum of Modern and Contemporary Art, Zola Predosa (Bologna) (2008); and *Fumetto Proibito* at Spazio 6, Verona (2009). CRAB, Brera Academy Research Center, former Church of San Carpoforo, Milan (2011); Codex, Spazio Maurizio Colombo, Turin (2013); Alchimie e trasparenze, curated by Cinzia Tesio, Salone della Provincia, Cuneo (2014); Mimetico non solo, curated by Edoardo Di Mauro, Galleria Spazio, Turin (2015); Proposizioni, curated by Raffaella A. Caruso, Galleria Lara&Rino Costa, Valenza; TRANSITI, Palazzo Lascaris, Turin, a group exhibition promoted by the Regional Council of Piedmont and curated by Raffaella A. Caruso (2019); La città dei pollini, public installation, under the patronage of the Municipality of Gorgonzola, Gorgonzola.

Theo Gallino was born in Poirino in 1957 and lives and works in Chieri (Turin). After studying graphic design, he dedicated himself to painting, sculpture, and photography.
Experimentation with diverse techniques and materials has been a constant feature of his work since 1989—the year of his first solo exhibition at the Galleria Dialoghi in Biella, curated by Francesco Poli (who would go on to present his work the following year at the Centre d’Art Contemporain in Girona).
The common thread running through his career of over thirty years is a network of interconnections between works, where the instinct for survival, the power of imagination, and the sense of time find their full resolution only in relation to humanity. Gallino’s artistic inquiry transcends the purely lyrical and dreamlike to foster a new consciousness of change—one that is distinctly modern in its approach to identity, social issues, and ecology. His use of bubble wrap across many of his series serves not merely as an intriguing exploration of material or a personal stylistic choice, but as a poignant metaphor for the emotional numbness of contemporary man.
Notable recent exhibitions include *Comunicazione con guanti* at Palazzo Lomellini, Carmagnola (Turin), curated by Tommaso Trini; *Mito Moto Meta* at Nadia Bassanese Studio d’Arte, Trieste, curated by Maurizio Sciaccaluga (1995); *Theo Gallino – Personale* at the Velan Centre for Contemporary Art, Turin, curated by Edoardo Di Mauro (2002); *Viaggio con Keith Haring* at Galleria Alfonso Giannone, Forte dei Marmi (Pisa); *AA. VV. Autori Van* at Biasutti & Biasutti, Turin (2005); the Ca’ La Ghironda Foundation – Museum of Modern and Contemporary Art, Zola Predosa (Bologna) (2008); and *Fumetto Proibito* at Spazio 6, Verona (2009). CRAB, Brera Academy Research Center, former Church of San Carpoforo, Milan (2011); Codex, Spazio Maurizio Colombo, Turin (2013); Alchimie e trasparenze, curated by Cinzia Tesio, Salone della Provincia, Cuneo (2014); Mimetico non solo, curated by Edoardo Di Mauro, Galleria Spazio, Turin (2015); Proposizioni, curated by Raffaella A. Caruso, Galleria Lara&Rino Costa, Valenza; TRANSITI, Palazzo Lascaris, Turin, a group exhibition promoted by the Regional Council of Piedmont and curated by Raffaella A. Caruso (2019); La città dei pollini, public installation, under the patronage of the Municipality of Gorgonzola, Gorgonzola.

Theo Gallino was born in Poirino in 1957 and lives and works in Chieri (Turin). After studying graphic design, he dedicated himself to painting, sculpture, and photography.
Experimentation with diverse techniques and materials has been a constant feature of his work since 1989—the year of his first solo exhibition at the Galleria Dialoghi in Biella, curated by Francesco Poli (who would go on to present his work the following year at the Centre d’Art Contemporain in Girona).
The common thread running through his career of over thirty years is a network of interconnections between works, where the instinct for survival, the power of imagination, and the sense of time find their full resolution only in relation to humanity. Gallino’s artistic inquiry transcends the purely lyrical and dreamlike to foster a new consciousness of change—one that is distinctly modern in its approach to identity, social issues, and ecology. His use of bubble wrap across many of his series serves not merely as an intriguing exploration of material or a personal stylistic choice, but as a poignant metaphor for the emotional numbness of contemporary man.
Notable recent exhibitions include *Comunicazione con guanti* at Palazzo Lomellini, Carmagnola (Turin), curated by Tommaso Trini; *Mito Moto Meta* at Nadia Bassanese Studio d’Arte, Trieste, curated by Maurizio Sciaccaluga (1995); *Theo Gallino – Personale* at the Velan Centre for Contemporary Art, Turin, curated by Edoardo Di Mauro (2002); *Viaggio con Keith Haring* at Galleria Alfonso Giannone, Forte dei Marmi (Pisa); *AA. VV. Autori Van* at Biasutti & Biasutti, Turin (2005); the Ca’ La Ghironda Foundation – Museum of Modern and Contemporary Art, Zola Predosa (Bologna) (2008); and *Fumetto Proibito* at Spazio 6, Verona (2009). CRAB, Brera Academy Research Center, former Church of San Carpoforo, Milan (2011); Codex, Spazio Maurizio Colombo, Turin (2013); Alchimie e trasparenze, curated by Cinzia Tesio, Salone della Provincia, Cuneo (2014); Mimetico non solo, curated by Edoardo Di Mauro, Galleria Spazio, Turin (2015); Proposizioni, curated by Raffaella A. Caruso, Galleria Lara&Rino Costa, Valenza; TRANSITI, Palazzo Lascaris, Turin, a group exhibition promoted by the Regional Council of Piedmont and curated by Raffaella A. Caruso (2019); La città dei pollini, public installation, under the patronage of the Municipality of Gorgonzola, Gorgonzola.

Obsessed with recycling for a deeply rooted green vision, they take away the paintings from the oblivion of the attics which they give back to life through the three-dimensional reinterpretation of the canvases, which are immersed in PMMA (rigorously recycled plastics), laser-cut into geometric shapes and recomposed so as to giving a new contemporary vision of the painting without making it lose its original identity. The moment of inclusion and cutting always remains an unpredictable unknown, because it is not known how the painting reacts to this chemical / thermal shock. The colors change hue or even become another, sometimes they mix, they rise, in turn creating micro worlds visible on the side (small sunsets, cities), sometimes the two parts detach and create ancient inlets. The artist enthusiastically welcomes these unpredictable changes, almost awaits them, they are a fundamental part of them work, they are messages that come from the history of the painting itself (materials used to paint such as glues, varnishes, type of color) and from time (crimping) . Sometimes these unpredictable events even change the initial project. Imperfection = perfection.
Some “geometric structures” often are made to accommodate natural light (green vision) which illuminates and intensifies, through the transparencies of the Plexiglas and the texture of the canvas, the brightness.

Obsessed with recycling for a deeply rooted green vision, they take away the paintings from the oblivion of the attics which they give back to life through the three-dimensional reinterpretation of the canvases, which are immersed in PMMA (rigorously recycled plastics), laser-cut into geometric shapes and recomposed so as to giving a new contemporary vision of the painting without making it lose its original identity. The moment of inclusion and cutting always remains an unpredictable unknown, because it is not known how the painting reacts to this chemical / thermal shock. The colors change hue or even become another, sometimes they mix, they rise, in turn creating micro worlds visible on the side (small sunsets, cities), sometimes the two parts detach and create ancient inlets. The artist enthusiastically welcomes these unpredictable changes, almost awaits them, they are a fundamental part of them work, they are messages that come from the history of the painting itself (materials used to paint such as glues, varnishes, type of color) and from time (crimping) . Sometimes these unpredictable events even change the initial project. Imperfection = perfection.
Some “geometric structures” often are made to accommodate natural light (green vision) which illuminates and intensifies, through the transparencies of the Plexiglas and the texture of the canvas, the brightness.

Obsessed with recycling for a deeply rooted green vision, they take away the paintings from the oblivion of the attics which they give back to life through the three-dimensional reinterpretation of the canvases, which are immersed in PMMA (rigorously recycled plastics), laser-cut into geometric shapes and recomposed so as to giving a new contemporary vision of the painting without making it lose its original identity. The moment of inclusion and cutting always remains an unpredictable unknown, because it is not known how the painting reacts to this chemical / thermal shock. The colors change hue or even become another, sometimes they mix, they rise, in turn creating micro worlds visible on the side (small sunsets, cities), sometimes the two parts detach and create ancient inlets. The artist enthusiastically welcomes these unpredictable changes, almost awaits them, they are a fundamental part of them work, they are messages that come from the history of the painting itself (materials used to paint such as glues, varnishes, type of color) and from time (crimping) . Sometimes these unpredictable events even change the initial project. Imperfection = perfection.
Some “geometric structures” often are made to accommodate natural light (green vision) which illuminates and intensifies, through the transparencies of the Plexiglas and the texture of the canvas, the brightness.

Obsessed with recycling for a deeply rooted green vision, they take away the paintings from the oblivion of the attics which they give back to life through the three-dimensional reinterpretation of the canvases, which are immersed in PMMA (rigorously recycled plastics), laser-cut into geometric shapes and recomposed so as to giving a new contemporary vision of the painting without making it lose its original identity. The moment of inclusion and cutting always remains an unpredictable unknown, because it is not known how the painting reacts to this chemical / thermal shock. The colors change hue or even become another, sometimes they mix, they rise, in turn creating micro worlds visible on the side (small sunsets, cities), sometimes the two parts detach and create ancient inlets. The artist enthusiastically welcomes these unpredictable changes, almost awaits them, they are a fundamental part of them work, they are messages that come from the history of the painting itself (materials used to paint such as glues, varnishes, type of color) and from time (crimping) . Sometimes these unpredictable events even change the initial project. Imperfection = perfection.
Some “geometric structures” often are made to accommodate natural light (green vision) which illuminates and intensifies, through the transparencies of the Plexiglas and the texture of the canvas, the brightness.

Obsessed with recycling for a deeply rooted green vision, they take away the paintings from the oblivion of the attics which they give back to life through the three-dimensional reinterpretation of the canvases, which are immersed in PMMA (rigorously recycled plastics), laser-cut into geometric shapes and recomposed so as to giving a new contemporary vision of the painting without making it lose its original identity. The moment of inclusion and cutting always remains an unpredictable unknown, because it is not known how the painting reacts to this chemical / thermal shock. The colors change hue or even become another, sometimes they mix, they rise, in turn creating micro worlds visible on the side (small sunsets, cities), sometimes the two parts detach and create ancient inlets. The artist enthusiastically welcomes these unpredictable changes, almost awaits them, they are a fundamental part of them work, they are messages that come from the history of the painting itself (materials used to paint such as glues, varnishes, type of color) and from time (crimping) . Sometimes these unpredictable events even change the initial project. Imperfection = perfection.
Some “geometric structures” often are made to accommodate natural light (green vision) which illuminates and intensifies, through the transparencies of the Plexiglas and the texture of the canvas, the brightness.

Obsessed with recycling for a deeply rooted green vision, they take away the paintings from the oblivion of the attics which they give back to life through the three-dimensional reinterpretation of the canvases, which are immersed in PMMA (rigorously recycled plastics), laser-cut into geometric shapes and recomposed so as to giving a new contemporary vision of the painting without making it lose its original identity. The moment of inclusion and cutting always remains an unpredictable unknown, because it is not known how the painting reacts to this chemical / thermal shock. The colors change hue or even become another, sometimes they mix, they rise, in turn creating micro worlds visible on the side (small sunsets, cities), sometimes the two parts detach and create ancient inlets. The artist enthusiastically welcomes these unpredictable changes, almost awaits them, they are a fundamental part of them work, they are messages that come from the history of the painting itself (materials used to paint such as glues, varnishes, type of color) and from time (crimping) . Sometimes these unpredictable events even change the initial project. Imperfection = perfection.
Some “geometric structures” often are made to accommodate natural light (green vision) which illuminates and intensifies, through the transparencies of the Plexiglas and the texture of the canvas, the brightness.