I create artworks and artistic objects designed for both indoor and outdoor spaces, developing ideas that span painting, sculpture, photography, digital graphics, and AI-generated art. I draw inspiration from a multitude of sources assimilated over the course of life: youthful memories, graphic imperfections, astronomy, sociological observations, dreams experienced during sleep, and visual alterations, with a particular focus on optical effects. Using a press of my own design, I grind stones, minerals, crystals, and rocks to create pigments and colors that, by their very nature, can change over time. The chemical composition of these pigments constitutes a personal artistic signature, unique and nearly impossible to replicate with absolute precision. In my creative process, I occasionally employ tools and technologies that are generally uncommon in the artistic field, integrating them to enhance the singularity of my work.

Welcome to our artistic website! Our story began in the 1970s, when, as children, we played on the same streets and attended the same preschool and elementary school. Time eventually separated us, but as adults, we reconnected through social media, rediscovering a profound bond. An immediate and intense sense of empathy bridged the differences in our life experiences, connecting us in a genuine harmony. On these pages, we share the fruits of our artistic journey, expressed both as individual creations and as collaborative projects born of our partnership. Texts and images are updated according to the natural rhythm of our creative evolution, always open and in transformation. We invite you to explore the content of this site, knowing that its graphic structure may appear chaotic or challenging to navigate. This apparent disorder is not accidental but rather a deliberate choice, reflecting our commitment to maintaining an authentic approach faithful to our artistic vision. The irregular geometries, unconventional layout, and lack of rigid hierarchy embody our desire to prioritize the essence of the works over adherence to traditional notions of readability or order. Every element, even in its apparent fragmentation, is an integral part of our way of conceiving art: a fluid and spontaneous journey where meaning emerges from the dialogue between the observer and the observed.

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I was born in Turin, Italy, in June 1971. I channel much of my imagination into the art I create, continually evolving my style through curiosity and introspection. My canvas work incorporates carefully hand-rolled paper in a wide spectrum of colors. I also enjoy the art of selfies, exploring endless transformations fueled by a blend of whimsy and boldness. Every aspect of my creative process, from canvases to photographic poses, is infused with emotion, pragmatism, and inventive functionality. Although I came to art only a few years ago, the desire to embrace conceptual and surprising practices has always been part of me. My mind constantly navigates a balance between seriousness, responsibility, and an unwavering determination, accompanied by a playful eccentricity. Everything I create stems from ideas that often emerge spontaneously, surprising even me. 

LA MIA PAGINA IN LINGUA ITALIANA 

A potential pursuit of mine to develop a new type of landscape would likely require an approach that breaks away from the historical, formal, and technical conventions of traditional landscape representation, venturing into conceptual territories yet unexplored. A complete reimagining of the landscape as an artistic subject seems, at present, improbable to me, yet I continue to chase that goal through my experiments. I have often explored the idea of the nonexistent landscape, designed not to reflect the natural world but to evoke glimpses of an unknown yet plausible dimension—landscapes characterized by features, forms, and colors that push the boundaries of human comprehension. A related avenue of experimentation could involve a direct engagement with a carefully constructed sense of disorientation. Imagine a landscape that, while appearing as such, deliberately abandons any internal coherence that might allow the observer to enter the scene without experiencing a profound sense of dislocation.

Between artistic selfies—featuring costumes and crafted scenes—and spontaneous shots taken in the everyday spaces of my home, I occasionally pursue a conceptual approach to “dialectal photography.” This is a personal interpretative horizon, rooted in an informal, intimate dialogue between aesthetic construction and authenticity. My “dialect photography” offers an introspective view, exploring my identity through images that oscillate between the crafted dimension of artistic artifice and the more immediate, intimate sphere of domestic life. In spontaneous selfies, I appear unposed, allowing viewers to sense the environment around me as a natural frame, imbued with traces of my lived experience. Metaphorically, my dialect photography acts as a conceptual bridge, unifying apparent opposites and creating a cohesive visual narrative, despite stylistic differences. This practice also enables me to explore the boundary between the outward identity presented to the observer and my more private, genuine self, revealing an interplay between the deeper layers of my personality and the constructed mask for the artistic world. 

Our choice to position the puppet's nose on the back of its head shifts the focus to the idea that reticence manifests as a conscious strategy, where dissimulation takes on an intentional quality. This marks a departure from the naive lie, instead portraying a sophisticated deception that seeks to avoid direct judgment while keeping the facade intact. The tension between the desire to appear sincere and bearing the mark of falsehood—the elongated nose—in an unexpected location allows for symbolic play, raising questions about how many lies remain socially unexplored. A nose on the back of the head thus becomes a metaphor for a truth that resides in a dimension inaccessible to the transparency of dialogue. 

To achieve optimal results in formulating a mineral blend capable of exhibiting spontaneous chromatic shifts, I employ a rigorously scientific methodology, meticulously considering the physicochemical properties of the materials involved, as well as the environmental conditions that modulate such transformations. The selection of minerals is driven by critical parameters, including crystal lattice structure, chemical composition, and the responsiveness to external stimuli such as light wavelengths, thermal variations, and humidity levels. The phenomenon of spontaneous color variation is intricately tied to chemical reaction processes or internal phase transitions within the mineral matrix. Ensuring the mixture retains a degree of stability while preserving its dynamic ability to shift colors requires the strategic incorporation of stabilizers or mineral binders, which facilitate the ideal conditions for sustained chromatic mutation. Techniques such as maceration or low-temperature sintering are employed to enhance the material’s sensitivity to environmental fluctuations. Achieving these effects demands a precise understanding of the spectral range and light intensity necessary to trigger the chromatic phenomena. I subject these formulations to extensive, iterative testing, assessing their reactivity, durability, and the longevity of their transformative capacities. Through long-term observation, I am able to identify potential challenges in maintaining consistent chromatic shifts, allowing for continual refinement of the techniques to optimize performance. 

The change in my hairstyle, cut, and color, after decades of maintaining the same look, has represented much more than a mere aesthetic evolution: it has been a turning point, an act of renewal reflecting an intense inner transformation, as swift as it was unexpected. This seemingly simple gesture has triggered profound connections between my outward appearance and my artistic dimension, positively influencing not only how I see myself but also the art I create. As though the change in my hair served as a catalyst for newfound awareness, other aspects of my life have also taken a new direction, leading me to explore unexpected creative horizons. The decision to reinvent my look through a different hairstyle has strengthened the harmony between my image and how I embrace my age—not as a limitation, but as a source of authenticity and strength. Moreover, this change is offering me the chance to experiment with new styling techniques that align not only with my photographic and video performances but also with the emotional and narrative messages I seek to convey. In this sense, this aesthetic renewal has proven to be a powerful tool, capable of merging my artistic vision with a newfound freedom of expression.

FRONTAL SUBTLETIES

In my frontal portraits, there is a delicate balance between a spontaneous approach and a refined creative dimension. I do not pursue obsessive control over light and shadow, as I believe that rigid technical precision can stifle the organic essence of an image. I favor spontaneity, embracing the natural emergence of photographic imperfections, whether in composition or focus. What are typically considered flaws in photography, rather than detracting from the final outcome, actually enrich the aesthetic, contributing to a more authentic and raw representation that aligns with my pursuit of natural beauty and unfiltered expression. While I aim to present my subjects in the best possible form according to my vision, I do not confine myself to strict rules, as such limitations often prevent the unexpected from unfolding. I am captivated by the subtle interplay of light and contours, seeking to capture the essence of the moment rather than striving for mechanical perfection. Through my images, I endeavor to reveal Erica in all her layered complexities, without compromise. Photography, for me, is a process that allows me to become every version of Erica I wish to embody, in all the dimensions I am capable of expressing.

During the advent of the first graphic software, I approached visual modifications with a mix of curiosity and a need for adaptation. The technology, still in its primitive state for certain fields, seemed restricted and unintuitive, even as each new program brought innovations for its time. One of the most demanding aspects was the limited processing power of the machines of that era. The slow rendering speeds and the absence of advanced correction tools forced careful planning of every step, as any mistake could result in a considerable waste of time. The use of the mouse, still a rudimentary tool for the precision required in graphic arts, required patience. Managing color presented another significant challenge. The monitors of the time could not accurately represent a broad color range, and the palettes available in the software were restrictive. Resolution was yet another obstacle: work was often done in low-definition, and every detail had to be carefully considered to ensure an acceptable result in the final output. The outdated software required graphic design to follow an essential and schematic approach. 

In the early stages of my actual creative journey, in the late 1990s, when I transitioned from theory to practice, I relied on traditional tools such as pencils, pastels, markers, ballpoint pens, and tempera paints. The results were modest yet open to critique, as I repeatedly attempted to incorporate elements like graphic errors, optical effects, and paradoxical components into my entirely handmade artworks. I could never have imagined the transformative impact that the advent of computers, software, the internet, and artificial intelligence would have, not only on my work but on the entire art world. Technology applied to art seems to represent a new wave, a global movement where everything appears theoretically possible, even without specific knowledge or skills. Personally, I don’t want to fall behind in this new way of making art, and I’m learning to harness the latest computational resources to create works that, although conceived by me, are generated by processors, algorithms, software, and applications which, with minimal input but complete autonomy, instantly decide and elaborate works of any kind. 

My imagination ventures into the depths of my inner worlds, where every boundary between reality and fantasy decisively dissolves, leading me to explore and merge concrete, everyday elements with surreal visions, creating a continuous dialogue between the tangible and the desired. For me, transformation is not merely an aesthetic pursuit but an authentic necessity for playful metamorphoses, allowing me to present every eccentric facet of my identity. I love experimenting with wigs in bold colors, capable of instantly transforming my appearance. Disguises, unusual accessories, and ornaments that I craft or purchase frequently challenge aesthetic and social expectations. I find myself enchanted by my cosmetic tricks—those small daily rituals that, through fleeting performances, can radically alter, even if only for a few minutes, the perception I have of myself. It is within these constant transformations that I often discover my truths, in an authenticity that never becomes fixed or static. 

I utilize collections of minerals, meticulously selected for their aesthetic potential and certain natural properties that align with my graphic objectives. Some are common, while others are rarer and are ground using a mortar and pestle or a calibrated mechanical press of my own invention. This process allows me to obtain the pigments necessary for the subsequent stages of each of my works. Depending on their nature, the pigments are then combined with customized binders, which I progressively develop through various experiments. These binders not only hold the pigments together but often enhance their overall effect, improving color rendition and consistency. The result is a malleable mixture. Using brushes or spatulas, I apply the pigments to create the compositions required by each project. Every step is carefully studied to ensure that the intrinsic properties of the minerals remain unaltered at the chromatic level. Additionally, every element or compound used is harmless to living beings. 

Libro di Buio is an ironic autobiography that gathers unique episodes from my life, including the various artistic phases I traversed to reach my current skills and works. It's a chronicle that began in the 1990s with the writing of some texts, composed almost playfully using my mother's typewriter. These texts were written exclusively at night, hence the title alluding to darkness. The book delves into adventures and misadventures, missteps, and the relentless personal development of a creativity that sometimes emerged in me unbidden and at other times vanished into thin air for months or years. From my first cringeworthy forays into the world of drawing and painting, to my first successful experiments, and finally arriving at the ideas and quality works that characterize my artistic journey today. 

Libro di Buio is dedicated to itself.

It is not easy for me to reconcile the ancestral human roots and my past—shaped by a practical upbringing—with a near future that seems inexorably directed towards quantum technology and artificial intelligences. My first television was black and white, as were my first photographs. Black and white feels like an old dialect, now rarely spoken. While I appreciate the shift towards a vibrant, hyperconnected reality, I cannot help but feel a sense of nostalgia for those simpler times when the pace of daily life was slower and more reflective. The beauty of black and white lies in its ability to capture the essence of an era long gone, yet no less significant. Even today, when I take pictures with my smartphone, I often have them printed on paper. In this digital age, paper is, in a way, my personal black and white. 

Human vision is governed by neurobiological processes that interpret the wavelengths of light refracted by objects, allowing the brain to construct chromatic representations of the external world. However, there are chromatic configurations that, while within human perceptual capabilities, appear anomalous or unusual as they contrast with typical neurovisual or cognitive expectations. I employ certain anomalous chromatic configurations to draw attention to the graphic aspects of my work. When colors are juxtaposed in an anomalous manner, the neuronal response can be disorienting, leading to a sense of visual incoherence or chromatic tension, which in some cases can evoke a perception of error. These perceived "errors" are deliberately crafted as part of my artistic fallacies. I exploit these chromatic anomalies to create works that elicit intense and unconventional emotional reactions. The chromatic anomaly I propose in various pieces thus becomes a tool to transcend the limits of realistic representation and to explore the evocative potential of pure color. 

The chromatic obsession that took shape in me as a child, long before I could have imagined that art would shape my life, revolves around one color in particular: orange. This color, in all its shades, has woven itself into my creations like an invisible thread, binding together my artistic visions with a sense of continuity and depth. I always ensure that I achieve it through natural mineral pigments that are safe and harmless. The safety of the materials is crucial, not only for those who view the artwork but also for myself as an artist. My works are not just a chromatic exploration but also a constant dialogue between art and nature, a reflection on the compromise between artistic desire and the responsibility we have toward the world around us. 

I often use my smartphone to create videos of my performances, which I then use as a resource to extract numerous frames. Through videos, with moving images, I have the opportunity to capture the nuances of my expressions, which are difficult to perceive and spontaneously capture in the stillness of a selfie. In the spaces of my home, I immerse myself in a creative exploration that not only deepens my connection with my body but also allows me to rediscover it in ways that had remained suspended for an indefinite period, even to myself. This process of photographic self-portraiture is, for me, both a playful exploration and a serious, deliberate practice of self-examination. Each extracted frame becomes a visible trace of an inner journey, a temporary map of my current being. Every pose, every expression is a fragment of an identity in constant evolution, a way to archive who I am at a given moment, knowing that in the future I may revisit these images as reflections of myself, shifting with the passage of time. It is an act of self-reflection that allows me to explore who I am today, while simultaneously leaving traces to revisit tomorrow.

The nostalgia for my old artistic studies has, in recent years, resurfaced within me dormant sensations that were never truly forgotten. Every detail of those years resides in a corner of my memory, like an ancient pigment emerging from the dust. Within my studies, there was a constant interplay between form and concept. The scent of materials, the sound of pencils gliding across paper, the shifting light that altered the character of a painting—all contributed to an environment in which I was entirely immersed. The hours spent seeking the perfect combination of colors, now that I have mastered them, seem to belong to a parallel life. This is not a matter of regret, but rather a recognition that the artistic journey unfolds in phases, and the imprint left by those years remains, like a fine pencil line that never fully fades. I realize how certain ideas, certain intuitions from that time, still find their way into my current work, albeit refined through years of experience and reflection. Art is never truly complete; it is a continuous process, one of returns and new departures. A space in my mind is often dedicated to those old creative environments. 

Il mio volto è come una tela artistica vivente; un supporto intimo per esternare emozioni attraverso il mutamento delle sue linee. Ogni mia espressione è una porta verso la mia dimensione emotiva che connette l’interiorità con la percezione dell'osservatore. Ogni mimica facciale che adopero per il selfie è un atto performativo che trasforma la mia fisionomia in uno strumento di comunicazione visiva. Dal sorriso, alla tristezza, dalla sorpresa all’ira, dall’amore alla paura, fino al dubbio o all'indifferenza, il volto diventa il mediatore di una narrazione, tra i miei pensieri e lo stato d'animo che offro. Emergo dal buio per illuminare la mia opinione del momento, verso le mie sensazioni.

I adore losing myself in the labyrinth of transformations, altering my identity, age, and appearance with every click of the camera. Each performance is a journey without a map, venturing into the uncharted territories of imagination. Just like in these selfies with Pinocchio, where his nose, a symbol of lies and hidden truths, becomes a playful extension of his identity in my hands. In my photographic series, I delight in interacting with the most diverse objects, transforming them into playful companions, accomplices in my metamorphoses, and domestic witnesses to my follies. Each shot is a snapshot of my fantastical world where almost anything is possible. The encounter between Pinocchio and Reticence could spark a stimulating dialogue between two different modes of altering the truth. Pinocchio, with his elongating nose, represents explicit lying, while Reticence, with her hidden nose, embodies omission and manipulation. Their confrontation, though paradoxical, could lead to constructive reflections on the use of deception to prevent communication from degenerating into conflict or misunderstanding. Their interaction could also highlight how lying and omission are often intertwined, in ways more complex than one might imagine. 

Among the key elements that have shaped my artistic journey, the actual act of creating works has, of course, been fundamental. However, my early attempts at drawing and painting in the 1990s often didn’t meet my expectations. During those years, I managed to produce only vaguely acceptable works within the abstract and informal genres, and I quickly realized that the path ahead would be difficult. Although I had a solid understanding of art history and theory, my technical and manual skills felt like an insurmountable barrier at the time. I created numerous works, many of which were eventually discarded, before I was able to achieve optimal results.

My works, at times, are born from an impulse that challenges the traditional motivations of art. To provoke, to shock, or to teach are well-trodden paths, as is the pursuit of validation. One concept that particularly fascinates me during certain periods is the resistance against the very purpose of the artwork itself. It's not a simple rejection, but rather a quest for unprecedented motivations, never before explored. The artwork, precisely in its lack of typical underlying motivations, becomes the reason for its own creation. I revel in getting my hands dirty, experimenting with materials and techniques, seeing what happens when I combine minerals never before used, materials I haven't yet fully mastered. Challenging expectations is a crowded path, and I sometimes prefer the silence, even if only imagined, of a solitary journey. Although, inevitably, the moment arrives to reopen my eyes and return to the world that, for a few days or fleeting moments, I've artistically sought to evade.

In me, there exist more than one Erica. Many Erica. I project an exterior appearance of ordinariness, with a clear attitude, exhibiting tranquility and kindness, but also a mind characterized by a profound curiosity, which doesn't reveal itself immediately but sometimes emerges unexpectedly. I often dedicate myself to the exploration of classical and popular topics, as well as those that are unusual or extraordinary, unveiling unexpected facets and demonstrating the ability to process simple or seemingly disparate and bizarre concepts. My innermost nature conceals a creativity not easily classified through superficial analysis. This amalgamation of an initially standard appearance, fused with inner depth and genuine sentiment, occasionally renders me stimulating for those who have the opportunity to delve into my complexities. Artistically, I express myself through sober and orderly home selfies, yet I don't shy away from play, occasionally transforming into an unpredictable cosplayer. I can reveal myself, if I choose, to be empathetic, witty, and eccentric. My life is a kaleidoscope of facets, each adding a different hue to my existence.

On various occasions of domestic selfies, I present myself both as a mirror and as a reflection of my personality in an artistic manner. I navigate adeptly between a natural, makeup-free visage and one stylized through cosmetic interventions. Every now and then, I add unconventional wigs with vibrant shades to my repertoire. The graphical propositions, when they seem to reach the peak of their development, resurface surprisingly in new forms, eliciting further impressions, as if I were constantly engaged in an evolving artistic process. With wigs and makeup, I play with the various facets of my identity, transforming each photo into an opportunity to reinvent myself. I am both the photographer and the subject. Wigs are my blank canvas, ready to be painted with my creativity and imagination. 

"IRIS" (2022)

For a long time, I dabbled in various forms of artistic expression and techniques as a hobby. However, it is through my canvases that my artistic exploration has evolved, transforming from a recreational pursuit into a complex personal, conceptual, and artistic endeavor. I transform colored paper, shaping forms and textures, creating works that evoke emotions in me and, I hope, in those who view them.