About

My work begins with a question: what happens when the mind meets an image? A-criticArt is the name I use to explore that question. It is also a statement of intent: I want to create images that make an immediate impact before they need to be explained, while still carrying a critical way of looking at what they show.

My background in clinical psychology has shaped my work, not only in the subjects I choose, but in the way I think about images themselves. I am interested in the space between the artwork and the viewer: the moment when something catches our attention before we fully understand why.

Some works draw on perception, memory or psychological fragility. In others, psychology appears more indirectly, through the recognition of faces and places that already belong to a shared visual memory.

Florence, where I live and work, is one example: a city made of everyday life and routine, but also an image known around the world, through monuments and views that many people recognize before ever seeing them in person.

This way of thinking often leads me to work in series. A single image is rarely enough to explore an idea completely. I like to think of a series in the way musicians think of a concept album: each piece can stand on its own, but gains another layer of meaning within a broader theme.

I do not look for a rigid stylistic consistency, and I am not interested in hyperrealism as a technical exercise in itself. The technique has to serve the idea. For this reason, each work suggests its own way of being drawn.

I work mainly with coloured pencil and ink pen because I like the physical relationship with the paper. I like feeling the pressure in my hand and controlling the mark as the image takes shape.

My work is for people who are drawn to images that make an immediate impact, but also invite them to stay with them a little longer: works that leave room for visual associations, memory and personal experience.