Vessels like artifacts from an alternative timeline.
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My ceramic objects exist between function and sculpture. Some remain contained and intact, while others open, fracture, or expose their interior. These are not separate bodies of work, but different states of the same form — moments of becoming rather than fixed categories. Even when a vessel no longer holds water, it continues to hold space, memory, and attention.
My ceramic objects exist between function and sculpture. Some remain contained and intact, while others open, fracture, or expose their interior. These are not separate bodies of work, but different states of the same form — moments of becoming rather than fixed categories. Even when a vessel no longer holds water, it continues to hold space, memory, and attention.
One-of-a-kind ceramic objects built through a slow and intuitive process.
I think of each piece as a small landscape. Working with nerikomi and neriage techniques, I build porcelain through layering, pressure, cutting, and reassembly, allowing surfaces to feel eroded rather than made. Openings and ruptures act like geological cross-sections, revealing what is usually hidden.
I think of each piece as a small landscape. Working with nerikomi and neriage techniques, I build porcelain through layering, pressure, cutting, and reassembly, allowing surfaces to feel eroded rather than made. Openings and ruptures act like geological cross-sections, revealing what is usually hidden.
My practice is informed by years of working as an art director in film and television, where objects are never neutral but shape atmosphere, narrative, and spatial perception. I approach ceramics with the same awareness, considering how each form occupies space, relates to its surroundings, and quietly reorganizes the environment around it.
My practice is informed by years of working as an art director in film and television, where objects are never neutral but shape atmosphere, narrative, and spatial perception. I approach ceramics with the same awareness, considering how each form occupies space, relates to its surroundings, and quietly reorganizes the environment around it.
42°00'00.0"N 13°33'33.3"E
Quietly functional objects.
I often return to the oval — a form that exists both in the body and in the cosmos. Planetary movement follows an ellipse, never a perfect circle; the oval holds a sense of motion, gravity, and quiet imbalance. It is also one of the oldest human archetypes: the primordial vessel, the egg, a container of potential. My objects carry this duality — they feel like bodies in orbit, shells opening and closing, revealing interior space as something active and alive.
I often return to the oval — a form that exists both in the body and in the cosmos. Planetary movement follows an ellipse, never a perfect circle; the oval holds a sense of motion, gravity, and quiet imbalance. It is also one of the oldest human archetypes: the primordial vessel, the egg, a container of potential. My objects carry this duality — they feel like bodies in orbit, shells opening and closing, revealing interior space as something active and alive.
Landscape remains the central language of my work, shaped by an ongoing dialogue with Abruzzo — its raw topography, mineral colors, light, and slowness. The region appears not as representation, but as memory embedded in material, forming objects that feel weathered, as if shaped by earth forces.a
Landscape remains the central language of my work, shaped by an ongoing dialogue with Abruzzo — its raw topography, mineral colors, light, and slowness. The region appears not as representation, but as memory embedded in material, forming objects that feel weathered, as if shaped by earth forces.a
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