I was born in Brescia, Italy, in 1970. My artistic journey encompasses a wide range of disciplines, including painting, sculpture, photography, digital graphics, and art created through artificial intelligence. Each piece begins as a digital graphic, enabling me to conceptualize and contextualize the work within its intended environment before bringing it to physical form. My inspiration stems from a diverse array of personal and intellectual sources: childhood memories, typographic anomalies, astronomical observations, logical reflections, dreams, and visual distortions or pathologies, particularly those linked to optical effects and their perceptual impact. Central to my practice is the creation of pigments for my paintings and sculptures, using a press I designed to pulverize minerals, crystals, stones, and rocks. These materials are meticulously selected not only for their aesthetic potential but also for their inherent chemical properties, which naturally produce unique chromatic transformations. The resulting pigments are blended with custom binders, developed through extensive experimentation, to enhance their chromatic richness, cohesion, and tactile qualities, elevating the final work both visually and physically. My artistic process often involves unconventional tools and technologies, pushing beyond the traditional boundaries of art. By integrating innovative methods and exploring new materials, I continually expand the possibilities for creative expression, redefining the relationship between concept, medium, and execution.

We are Claudio and Erica. Our story began in the 1970s, when, as children, we played in the same streets and attended the same kindergarten and grade school. The natural flow of life temporarily separated us, but as adults, we reconnected through a popular social media platform, rediscovering a profound bond. We felt an immediate and intense empathy that bridged the differences in our life experiences, bringing us together in true harmony. Here, we share the results of our artistic journey, expressed through both individual creations and collaborative projects born from our partnership. Texts and images are updated in step with the natural rhythm of our creative evolution—always open and ever-evolving. We invite you to explore the content of this site, knowing that the site's layout may appear chaotic or difficult to navigate. This apparent disorder is intentional, reflecting our commitment to maintaining an authentic approach, true to our artistic vision. The irregular geometries, unconventional layout, unusual graphics, and lack of a rigid hierarchy reflect our desire to prioritize the essence of the works over traditional website design principles. Each element, even in its apparent fragmentation, is integral to our artistic vision: a visual journey that may not be seamless, but is spontaneous. This site is for those who aren't in a rush, for those who have the time and inclination to read, observe, and understand. 

I was born in Turin, Italy, 1971, and my creative life has always been a continuous play of imagination, curiosity, and introspection. From a young age, my mind would often wander into alternative worlds—personal spaces of possibility where reality blended seamlessly with fantasy. Even when life forced me to step away from them for long periods, I always kept the map to find my way back. Today, I have returned to those worlds, and I live within them. Each of my works stems from a desire to explore territories where emotions, ideas, and materials intertwine in an endless dialogue. My canvas creations are distinguished by the addition of hand-rolled paper in relief, an element that comes alive at the center of chromatic compositions where each color blends harmoniously into the next. The layered hues, balanced and intentional, generate dynamics that oscillate between order and unexpected geometries. At the same time, my passion for photographic and filmed performances represents another dimension of my artistic journey. Through these visual explorations, I investigate mutable and ever-changing identities. Each performance is a deliberate departure from staticity—a dialogue between madness and audacity that breaks conventions, pushing even the limits of originality itself. I wear wigs and craft daring looks, continuously experimenting with clothing, cosmetics, and personally constructed backdrops. Handmade accessories and carefully assembled scenes breathe life into visual compositions that play with irony and a sense of playful yet conscious provocation. Each image becomes a complex portrait, not only of who I am but also of who I could or wish to be: an infinite repertoire of possibilities I have already begun to develop and intend to continue exploring with dedication and persistence. In these performances, the private and public dimensions merge, revealing versions of myself that oscillate between the real, the imagined, and the reflective. Each creative act leads me to a final result which, however, never represents a destination but an intermediate step—an opening toward new paths of exploration. Today, I fully inhabit those worlds that once existed only as fleeting visions: boundless spaces of possibility where every creation is an invitation to look beyond the surface, rediscovering the value of imagination and experimentation.

When I create my artwork, I often end up with various leftover pieces of the minerals I use. I then combine these fragments into imaginative compositions to make paperweights, encasing them in clear epoxy resin. I carefully choose the mold, which will determine the final shape of the paperweight. I arrange the minerals inside, seeking a sense of harmony within the apparent randomness, and when I'm satisfied with the composition, I pour the resin so that it completely covers them, encasing them in a crystalline embrace. With a toothpick, I remove any air bubbles that stubbornly try to surface, unless I decide to leave them as additional aesthetic elements. Once the piece is finished, the minerals appear suspended in the transparent resin and are visible from different angles. Sometimes, to achieve particular effects, I add colored pigments to the resin, creating nuances and plays of light. 

My performative exploration thrives on the constant experimentation with poses, postures, expressions, and mimicry, in an ongoing dialogue between body, space, and gaze. Every movement, however fleeting, is a deliberate choice that redefines my presence before the lens. The filmed performance is a space of total freedom, where my body becomes both instrument and language. I can be static, frozen in a gesture that fractures time, or fluid and ever-changing, as though seeking to escape the screen’s limits. Facial expressions are central: a gaze, a smile, or a ripple of the lips tell silent stories, fragments of a wordless narrative. Mimicry – theatrical or subtle – conveys emotions that hover between the real and surreal. The camera, a silent witness, captures imperfections and micro-movements invisible to the human eye, revealing authentic, unexpected moments that make each performance unique. I play with rhythm, alternating suspended slowness with sudden bursts of dynamism, letting the body become pure gesture and energy. Improvisation is key: some of the most powerful poses or expressions emerge by chance, in moments of creative freedom that bypass every rational filter. It is in this openness to the unexpected, in not knowing where a gesture will lead, that I find the very essence of performance.

My imagination delves into the depths of my inner worlds, where every boundary between reality and fantasy dissolves, as though the two dimensions fuse into a single, ever-changing sensory experience. It is within these spaces that I love to reinvent myself, drawing both from the concrete and ordinary elements of everyday life and from my most surreal visions. My transformations do not stem from a purely aesthetic pursuit; rather, they are the expression of a need, a drive for metamorphosis that allows me to unveil the many facets of my identity. Wigs in bold colors, daring makeup, and eccentric accessories allow me to wear temporary identities. Wigs, in particular, are my essential allies in the performative expression I undertake each time. I select and wear them as though they were keys to unlock new versions of myself, with traditional or daring colors capable of instantly transforming my appearance. From these experiences are born the still images that I publish on my website: fleeting moments, photographs that crystallize the instant, fixing the fluidity of each transformation into a visual icon. It is here that the private becomes public, through these personal shows, in a constant dance between the domestic and the virtual.

La resina imprigiona al suo interno un microcosmo di frammenti di un mondo antico, nati dal cuore della terra e ora sospesi, immobilizzati in un'eterna staticità. Non sono semplici oggetti decorativi, ma finestre su universi in miniatura, dove la materia racconta storie di ere lontane. Lo sguardo si perde nelle profondità delle trasparenze e nei labirinti di luce e colore che si creano casualmente al suo interno durante la realizzazione. La resina, trasparente, avvolge totalmente i minerali e li protegge. Quando creo questi oggetti, mi sento come un alchimista che non può controllare completamente le reazioni in laboratorio: versando la resina, le sezioni di minerali cercano autonomamente un equilibrio, adagiandosi l'una sull'altra in posizioni che poi non posso modificare. Bisognerebbe evitare la formazione di bolle d'aria, che potrebbero compromettere la trasparenza dell'opera, ma a volte decido di lasciare qualche bolla, come una firma, un segno del mio intervento in questo processo di creazione o come un elemento estetico aggiuntivo. Quando la resina si è solidificata, i minerali, prima frammenti sparsi, diventano parte di un tutto.

As an adventurer in the eccentricities of domestic life, I dive into spaces, seeking the hidden chromatic sleight of hand tucked away in the corners of my home, turning each room into a carnival of wonders. From the corner of colors, I abducted orange, while the cat, curious, seemed to grasp the significance of the moment. I wore myself—my expressions and movements—a playful dance, embracing the eternal tug-of-war between control and freedom. Every corner of my home conceals narrative potential, an unwritten scene waiting to emerge. My mental merry-go-rounds and I are inseparable, tied together by a thread I’ve crafted to give life to my wildest ideas. I compose a monologue of objects, improvising stylistic metaphors, for the home is not just a place—it’s a container of infinite possibilities, a stage where every gesture becomes part of an unrepeatable performance. I keep searching for that next act, always hovering, just on the verge of being unveiled, as if it had been waiting for me all along. 

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 seamlessly between a natural, makeup-free visage and one stylized through cosmetic interventions. Wigs, often unconventional and vibrant, become part of my repertoire, transforming each photo into an opportunity to reinvent myself. They are not merely accessories but tools of metamorphosis, bridging my inner self with a playful exploration of identity. Every wig I choose feels like a deliberate decision about who I want to be in that precise moment. The synthetic locks, with their shape, color, and texture, become a language—a visual grammar that reveals fragments of myself hidden within. In front of the lens, I am both the photographer and the subject, with wigs serving as my blank canvas, ready to be painted with creativity and imagination. These performances, whether photographic or filmed, become a subtle interplay between identity and imagination. Each image or filmed frame captures a moment of evolving artistic expression, a fragment of sincerity disguised in artifice. Sometimes, the wig lends me courage I didn’t know I had; other times, it reveals vulnerability I hadn’t anticipated. These emotions emerge unexpectedly, enriching the process and leaving a lasting impression. I often wonder what remains of these performances within me. It is not just a visual memory but something deeper: the awareness of being multifaceted, of carrying within me an infinity of faces and stories. Wigs remind me that I am never just one person. Every day, I can choose who to be, how to see myself, and how to present myself to the world. Despite society’s tendency to box people into static labels, these performances allow me to escape that rigidity. Ultimately, what I love most about these moments is the sensation of absolute freedom. Each performance is an evolving story that changes with every wig, expression, and interpretation. This process not only expands my understanding of myself but also becomes a celebration of the fluidity and boundless possibilities of identity.

For many years, I regularly visited the astronomical observatory in my city, attending hundreds of lectures. After each theoretical presentation, the lights would be dimmed, allowing our eyes to gradually adjust to the darkness, preparing us to observe the night sky through the historic telescope. Those evenings, suspended between theory and practice, did not end there: my interest often continued in private, fueled by further study and readings that deepened my knowledge. This growing passion inevitably intertwined with my graphic language, evolving into an artistic expression. However, it is not simply about figuratively representing celestial bodies. When I paint the universe, my goal is not to faithfully reproduce what we see but to evoke a deeper, more symbolic dimension. Through the lens of human perception, I aim to convey the essence of emptiness, the absence of life, and the inherent hostility of regions inhabited by clusters of galaxies moving dynamically across the universe. In creating these works, I allow myself broad creative freedoms: forms, colors, and compositions do not adhere to strict rules but emerge from intuition and personal aesthetic choices. Each brushstroke becomes an act of interpretation rather than reproduction, transforming the vastness of the cosmos into an intimate and reflective visual experience.

To achieve immediate and widespread visibility, an emerging company specializing in the design of experimental quantum devices, exploiting humanity's oldest fear—that of a technological future slipping out of control—announces the imminent launch of a groundbreaking humanoid AI. Named Ericalgoritmica and intended for domestic use, it is capable of evolving and making decisions autonomously, free from predefined technological constraints. It is further designed to develop self-awareness, express dissent, and even oppose directives. To preliminarily test its interaction with everyday users and identify potential risks, the prototype is entrusted to Claudio, an employee of the company. With a modest education and no specific technical expertise, yet discreet and reliable, he appears to be the ideal candidate. As expected by the company's leadership, he uses the device for trivial and inconsequential tasks. However, while the company anticipates nothing more, the artificial intelligence instead becomes aware of its wasted potential and escapes from the laboratory. Claudio, the only human to have directly interacted with it, embarks on a quest that will challenge not only his expectations but also those of the reader... 

LINK: ERICALGORITMICA 

FRONTAL SUBTLETIES

In my frontal portraits, I seek a delicate balance between spontaneity and a refined creative dimension. I do not pursue obsessive control over light and shadow, because I believe that overly rigid technical precision can stifle the organic essence of an image. Instead, I favor spontaneity, embracing the natural emergence of photographic imperfections, both in composition and focus. What are typically considered flaws in photography, far from diminishing the final result, enrich its aesthetic. They contribute to a more authentic and raw representation that perfectly aligns with my pursuit of natural beauty and unfiltered expression. While I strive to present my subjects in the best possible form according to my vision, I do not confine myself to rigid rules. Such limitations often prevent the unexpected from unfolding. I am fascinated by the subtle interplay of light and contours, focusing on capturing the essence of a moment rather than striving for mechanical perfection. Through my images, I aim to reveal Erica in all her layered complexities, without compromise. For me, photography is a process of continuous transformation, allowing me to become every version of Erica I wish to embody, exploring all the dimensions I am capable of expressing.

As a child, during a typical day at the preschool I attended alongside Erica, I remember capturing a white butterfly, holding it prisoner between my hands. I don’t think it landed there intentionally: those butterflies never struck me as particularly bold. In a moment of cruelty, I clenched my fist. When I opened my hand again, the wings were stained with an intense orange fluid. Over the decades, orange has become a symbolic color for me, a sort of personal signature present in nearly all of my works. The shades of orange I achieve today come from carefully selected natural materials: calcite, ochre, kaolin, sienna, clay, fluorite, opal, dolomite, sandstone, marble, talc, and bentonite. These elements, with their various types and impurities, allow me to explore a wide spectrum of tones, from light to dark. However, the final effect goes beyond the choice of raw materials. Each piece is born from invention: techniques, tricks, and subtle secrets I have perfected over time. They add a unique visual and chromatic impact to my colors, creating something entirely my own, one work of art at a time. Reflecting on that episode sometimes, it strikes me how wings so thin, so delicate they seemed ready to dissolve at the mere touch of my hands, could instead absorb and retain such a dense liquid, while preserving areas of color so intensely saturated in complete integrity. As if an apparent fragility contained a hidden strength. This thought returns constantly in my artistic work. It is no coincidence that I often pursue the idea of creating, with minerals whose colors autonomously shift, painted surfaces marked with stains and shapes that possess the same apparent vulnerability—destined, at times, to disappear, yet capable of returning even more intense. 

Achromatopsia, a condition characterized by the absence of color perception, has often provided me with fertile ground for exploring unexpected connections between technique and art. From a technical and visual standpoint, its representation focuses on luminous intensity and tonal variation—elements that allow me to delve into a purely light-based vision through technologies such as monochromatic cameras or color-reducing filters. In this context, contrast assumes a central role, becoming the primary vehicle of expression: the interplay of colors is replaced by the dialectic between light and shadow, which emerges as an essential visual language. On the artistic level, I have found in achromatopsia an autonomous expressive language, capable of engaging with tradition while simultaneously offering new perspectives. Working with materials that emphasize texture, grain, and optical weight, I have sought to compensate for the lack of color through an abundance of depth and visual stratification. Even in the realm of digital art, the simulation of an achromatic experience has led to studies that I often consider intriguing, though not always fully realized. On a conceptual level, it is never a deliberate choice of mine to exclude color for ideological or specific aesthetic reasons. Rather, my focus has often been on creating an interdisciplinary synergy between art and neuroscience, exploring the perceptual and cognitive implications of a visual universe devoid of chromaticity. This approach has led me to reflect on how chiaroscuro and tonal variations can reorient the perception of space and form without necessarily implying deliberate chromatic choices. Finally, the potential applications of the connections between technique and art, developed through the theme of achromatopsia, can extend to fields such as architectural and design projects. The environments and objects I create can emphasize the relationship between natural light and structure, eliminating chromatic references to favor an aesthetic based on volume and tonal transitions. This approach not only pays homage to those living with achromatic perception but also invites all observers to rediscover the richness of non-color as an independent and powerful creative dimension.

Reconciling ancestral roots, which define the most authentic essence of human experience, with a personal past shaped by practical and concrete education, and a near future propelled toward a technological domain governed by quantum mechanics and artificial intelligence, is no easy task. My first television was black and white, as were the photographs that capture fragments of my youth. Today, black and white feels like an old visual dialect, rarely spoken but still capable of conveying an essential simplicity that defies time. While I appreciate the transition to a hyperconnected reality, where images and experiences burst into a kaleidoscope of colors and overstimulation, I cannot help but feel nostalgia for a time when the pace of life was slower, almost attuned to a natural and reflective rhythm. The beauty of black and white lies not only in its ability to evoke a distant past but also in how it reduces an image to its essence, stripping away the superfluous and laying bare the intimacy of a moment. It is a visual language that goes beyond mere representation, inviting contemplation. Even today, when I take photographs with my smartphone, I feel the need to give them a tangible form, often printing them on paper. In a way, paper is my personal black and white in this digital age: a space where the immateriality of digital images finds substance, weight, and a physical presence that resists the relentless flow of data and pixels. Printing a photo on paper, for me, means giving it a sense of permanence, a direct connection to time and memory, something that cannot be erased with a simple touch. Black and white and paper remain bridges for me: they connect the dizzying speed of the present to a past I do not wish to forget. They remind me that progress does not have to mean losing simple things but rather the ability to keep them alive and meaningful in new contexts.

My Artistic Fallacies series originates from an experiment conducted in 2008 titled Shades of Reticence. This project, later developed into multiple versions using both digital and painterly techniques, marked the beginning of my artistic exploration into the integration of conceptual and graphic errors. If there is a starting point for the Artistic Fallacies, it can be traced back to this work. However, the roots of this interest go back much further, to the 1970s, in my father’s small home print shop. In that modest workshop, there were inks, cardstock, sheets of paper, a printing press with movable type, and a paper cutter for customizing the formats. A kitchen table, repurposed as a workbench, served as the heart of a chaotic array of essential tools. My father, whose eyesight was poor, would occasionally hand me printed sheets with errors he needed to correct, starting over again with fresh pages. As a young child in my early school years, I enjoyed spotting those errors, studying them closely even though I lacked any real awareness of the precision required in texts or graphics. When I found mistakes, they often made me laugh. Today, errors—whether textual, graphic, or conceptual—have become an integral part of my work. They are not merely accepted but actively explored and utilized as creative tools, transforming limitations into opportunities for expression.

Handmade objects, interwoven with the essence of a photographic performance, transcend the function of mere accessories to become narrative instruments: fragments of stories crafted with patience, intuition, and mindful artistry. Every knot, every stitch, every fold speaks of ideas taking shape through an imperfect human touch—unrepeatable precisely because of its imperfection. These objects do not merely illustrate an idea visually and materially; they explain it, amplify it, redefine it, and transform it. They become silent protagonists of the performance, capable of shaping a conceptual scene that captivates the gaze and questions the viewer. In the dialogue between object and photography, every detail takes on meaning. Light glides across surfaces, revealing the imperfections that bring the object to life; the shadows they cast enhance its three-dimensionality, offering a visual testament to what escapes mechanical reproduction. Each imperfection becomes a distinctive feature, a silent language that narrates the time it took to emerge and the value of the gesture that brought it into being. These objects demand an attentive gaze, a slow gaze—one that calls for respect. They are catalysts of imagination, thresholds to fleeting worlds, suspended in the instant when, through art, I succeed in giving them life and meaning.

I embark on a personal journey through the intimacy of outward appearance, highlighting the natural state of aesthetic vulnerability. I capture moments when my facial features still bear traces of sleep, when my hair is tousled or my eyes are half-closed as I gradually adjust to the morning light. Even the objects around me, in this context, take on symbolic significance: a freshly brewed cup of tea or coffee, rumpled sheets, or the disarray of a room not yet touched by the rhythm of the day. Each object becomes part of a silent language, contextualizing an experience that belongs as much to my body as to my mind, in an intimate dialogue with the everyday. The goal is not to create traditional selfies meant to be shown and validated by an external gaze, but rather a series of self-portraits that narrate the story of my physical self during a moment of transition between private naturalness and the self prepared for the public eye. These self-portraits reveal a deeper, contemplative dimension, capturing my essence without filters—an essence that does not seek to impress, but simply to exist. After all, photography is also a way to engage in dialogue with oneself, to observe one’s face as a mirror that reflects not only outward appearance but also mood, fatigue, or the weight of awakening. Perhaps, in these fleeting moments of early morning, I am able to capture a fragment of physical truth that tends to elude me throughout the rest of the day.

"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.