“Experiments” is a collection concerned with testing, limits, and transformation. The works emerge from fragmentation, transparency, and reduction as strategies of construction and meaning. Light, line, and color operate as tools through which form is subjected to change without losing its identity.
The collection investigates the balance between control and accident, structure and variation, and the ways perception adapts when expressiveness arises either from minimal nuances or from visual instability.
Iridiscent, 2026
(70x50cm, ink & watercolor on paper)
In 2026 I started a new collection, entitled “Experiments”, a working territory in which shape and color are put in direct relationship with the process. I take up the idea of stained glass on paper from “Fractured”, not as an ornament, but as a way of construction: fragments delimited by lines, which change their weight and meaning depending on the light and transparency. The eyeliner defines the structure, and the watercolor introduces variation, iridescence, controlled accidents. Felines come back constantly in my works because they allow control and fluidity at the same time.
“Iridiscent”, the first work in the new collection, proposes an experience of perception: a form that remains recognizable even when crossed by light, fragmentation and change.
Tones, 2026
(70x50cm, acrylic on paper)
I am interested in whether a minimalist color palette can convey as much as an effervescent one. Just as in music a limited number of notes can construct countless harmonies, “Tones” begins from reduction. I work with 7 “notes” — black, dark brown, ochre, sienna, terra rossa, cream, and white — which force me to shift attention from color to line, transparency, and shape, and to search for expressiveness within minimal nuances. I hope I succeeded.
A Survival Guide in Color, 2026
(100x150cm, acrylic on canvas)
I called it A Survival Guide in Color because this is what we have been doing for thousands of We are evolving, by building layer upon layer, from fragments that coexist and support one another, like pieces of a universal puzzle, even when we don’t have the full picture.
Once again, I chose a street art approach, where color leads the composition and form.
Cosmic Stag, 2026
(70x50cm, ink &watercolor on paper)
In my experiments, the form becomes just a pretext, a fragile scaffold over which I place layers of water, pigment, stains and overlapping transparencies that sometimes meet by chance. Cosmic Stag is built from shards of light, and its horns look like hands with fingers pointing to the sky to capture the energy of the universe.
Boudoir, 2026 (SOLD)
(80x60cm, acrylic on canvas)
Boudoir continues my search between figurative and abstract. As in a contemporary stained glass window, color speaks of strength and vulnerability, and the mirrors, the red sock and the unfinished gesture bring to the stage the discreet mystery of the boudoir, that space where identity dresses and strips of roles.
My Santorini, 2026
(40x30cm, ink & watercolor on paper)
My Santorini is different, it is not only about the traditional white and blue. The geometry of the cliffs and stones, the narrow streets layered one over another and the ochre tones that dominate everything, occasionally interrupted by a touch of vegetation, complete the landscape in my drawing and in my memories.
Ridin’ in the Rain, 2026
(70x50cm, acrylic on paper)
Forward, anyway.
No matter the pressure, no matter the external conditions.
Perhaps even singin’.
Duende, 2026
(70×50 cm, ink and watercolor on paper)
To emphasize movement and energy, I was tempted to keep the drawing only in ink.
Later, I felt that subtle, faded chromatic interventions bring emotion and warmth to the composition.
Thus Duende emerged, in a style close to street art, which naturally aligned with my intention.
Con(fine)d, 2026 (SOLD)
(50x65cm, mixed media on paper)
It was difficult to write a text for this drawing, because its tension is more subtle. Con(fine)d speaks about duality — a theme that constantly returns in my visual explorations — about delicacy coexisting with limitation, about the relationship between fragile and firm.
Constriction does not cancel beauty.
It defines it.
Motherboard, 2026
(70 × 50 cm, ink on paper)
Technology promises transformation at a scale humanity has never experienced before. Artificial intelligence learns, predicts, generates, replaces. Structures of thought are gradually translated into circuits.
Yet behind every transformation there remains a constant: the human origin.
Even when the body seems redesigned by technology, the identity of the figure remains unmistakable. She is still woman — mother, lover, companion — the source from which every system ultimately begins.
Perhaps in a world increasingly built by machines, the most stable interface will remain the human one.
Between, 2026
(70x50cm, ink on paper)
It used to be easier to stay up. After a while, you start wondering whether it still makes sense to continue or just let go. Either way, it becomes hard to tell what you actually control.
Illusion, 2026
(70x50cm, ink & watercolor on paper)
I intentionally reduced the intensity of the colors to observe how perception changes. The composition remains the same, but the atmosphere becomes calmer without losing its energy, while the balloons maintain their festive feel.
Hippocampus, 2026
(70x50cm, ink and watercolor on paper)
Two millennia ago, I let my horse drink from the waters of the Aegean Sea. Seeing its reflection, it grew troubled and fell into the waves.
Poseidon saw it and took it. He never gave it back.