'Tessera, 1260 a.C.'
Mixedmedia on canvas
150 X 120 X 4 cm
In Isorropìa Magna, le parole non contano; è per questo che esistono i numeri, e i numeri sono lettere. Ho capovolto il significato ed il vero scopo delle lettere, invece che usarle per creare una parola, le utilizzo come cifre da sommare sottrarre, scambiare e sovrapporre, proprio come per i geroglifici, ma come se ogni glifo fosse un monolittero.
Utilizzo lettere e numeri come fossero mediums e vernici e li uso per costruire testi fatti di immagini. Cosa pensi di capirci?
Ora, il mio lavoro ha una risonanza a livello globale, il ché mi fornisce una Tessera che mi porta nel 1260 a.C. e ci vado con una bilancia gigante, attendo cuori e piume.
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In Isorropìa Magna, words do not count; numbers take their place, and numbers are letters. I have redefined the essence of letters: rather than crafting words, I treat them as numerals—adding, subtracting, exchanging, and layering them like hieroglyphs, each glyph a singular, self-contained symbol.
Letters and numbers become my mediums and pigments, tools to weave texts that are visual tapestries. What meaning do you glean from this?
My work now resonates globally, and this resonance grants me a Token, a passage to 1260 B.C. I arrive with a colossal libra, poised to weigh hearts and feathers.
Price:
Price on request
'Isorropìa Oracular (ἔλεγχος)'
Mixedmedia on canvas
145 X 95 X 4 cm
“During her state of altered consciousness, the Pythia possessed the extraordinary ability to channel symbolic sentences drawn from a fragment of collective memory. These utterances exuded an infinite array of states and possibilities, reflecting the interconnectedness of all things—past, present, and future. Her prophecies were not mere predictions but glimpses into the delicate equilibrium of existence, where opposing forces coexist in a dynamic balance.
This concept of balance echoes the essence of Libra, the astrological sign symbolized by the scales. Libra represents harmony, duality, and the eternal quest for equilibrium between opposing forces—light and dark, chaos and order, the individual and the collective. Just as the Pythia navigated the liminal space between the mortal and the divine, Libra embodies the mediation of polarities, seeking unity within diversity."
Price:
Price on request
'Udjat'
Oil, pigments, dyes, acrylics and charcoal on canvas
180 X 150 X 4 cm
"In Egyptian mythology, the right eye of a deity symbolized the Sun, while the left eye represented the Moon. During the epic struggle for supremacy, Seth injured his brother Horus’s eye, which was later healed by Thoth, the god of wisdom and writing. This act of restoration transformed the Udjat into a powerful emblem of healing, wholeness, and the triumph of order over chaos. The name Udjat, derived from hieroglyphic transliterations, carries meanings such as ‘whole’ or ‘in good health,’ evoking the victory of life over nothingness.
Through layered symbolism and intricate detail, this work bridges ancient myth and modern reflection, offering a timeless meditation on resilience, healing, and the interconnectedness of all things.”
Price:
Price on request
'Fotosintesi'
Mixedmedia. Canvas
115 X 85 X 4 cm
Serie In Statu Nascendi
Featured on The Art Districts Platform
“A diachronic composition intertwining the statue of the Winged Victory from the Parco della Rimembranza in Torino’s hills with intricate natural patterns developed by the artist. This series draws inspiration from photosynthesis—a term rooted in the ancient Greek philosophical concept of ‘Ph.y.sis’—exploring the enigmatic process by which plants transform sunlight into nourishment. The artist draws a parallel to human existence, suggesting that, however majestic, all human creations inevitably return to Nature, which remains the fundamental axiom underlying every theorem mankind believes to have developed through Plato’s legacy.”
Price:
Price on request
'La Catastrofe'
Oil & Acrylics on wood panel
80 X 60 X 4 cm
Serie 'Isorropìa Magna', 2025
La Catastrofe is part of the 'Isorropìa Magna' series, a Greek word meaning 'balance' or 'equilibrium,' and it represents the creative rebalancing I provide in times of cultural freezing.
Human beings do not possess no instincts at all but rather vague, innermost impulses. Obviously, Nature decides over Science, due to the profound contradiction that arises between the scientific method and the very essence of psychology, which is rooted in interpersonal subjectivity.
Thus, the direction from the individual to the universe is neither interchangeable nor observable in reverse. It flows from the inside outward, not in explanatory terms, but in terms of understanding. Through my work, I strive to express this aspect with a blend of softness and a tension toward the absurd—a residual relationship born from the contact between the body and the world.
Consciousness itself is equilibrium. La Catastrofe, on the other hand, is the misguided direction of linguistic science, upon which all other sciences are built."
Price:
Price on request
'Giuinott'
Oil & Acrylics on wood
80 X 60 X 4 cm
Isorropìa Magna Collection
2025
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"Everything seems to start from the same source: the key is a step forward between the perception of emptiness and willing of mindfullness & protection.
Cyphers are Letters, that's why words do not count, but just Art.
I envision myself through Natural Patterns depictions, speaking with my ancient self in order to understand the world around me.
You can almost admit that my Totem is your Tabù, so follow me through universal timelines."
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Alberto Ballocca
Price:
Price on request
'CypherPun'
Oil & collage on board. Wood.
39.8 X 27.8 X 1.5 inch
Serie
'Isorropìa Magna', 2025
This painting is part of the 'Isorropìa' series, a Greek word meaning 'balance' or 'equilibrium,' and it represents the creative rebalancing I provide in times of cultural freezing.
Words do not count; that is why numbers exist, and numbers are letters. The most lofty word does not exist because no ideal exists. The ancients, as understood through the structure of myths, thought in analogical terms, not idealistic ones. The totem is the taboo, and every element is a potential communicative word.
There is only the union of each letter with another, with the purpose of generating words. In some words, letters are arranged as if preordained to form an acronym summarizing the meaning of the word itself—for example, "soddisfazione" (satisfaction).
It is enough to divide this word into "Soddis" and "Fazione." S.o.d.d.i.s. is an acronym for "Senza Ogni Direzione Diventa Indispensabile Sapere" (Without Any Direction, It Becomes Essential to Know), while "Fazione" may not be acronymized. Maieutics can be summarized as not taking for granted something one wishes to understand, in order to know it and be satisfied. "Fazione" is nothing more than a container of multiple elements that generate a group of individuals capable of identifying a term of a critical analysis.
Find a balance between matter and energy. Beyond the ego that sustains the perspective of being a balance between these elements, there exists the creation of a natural pattern, which is both a cipher and a letter.
Price:
Price on request
'Atma Victu'
Enamels, drawing collage, sprays and oil on panel
55 X 45 X 4 cm
**"Atma Victu"** is a Sanskrit term of masculine gender, signifying the **"essence"** or the **"vital breath"**—the fundamental life force that animates all living beings. This painting draws inspiration from **Jungian theory**, particularly the concept of the collective unconscious and archetypes, as well as a totemic sculpture also entitled *Atma Victu*. The sculpture, with its primal and symbolic forms, serves as a visual and spiritual anchor for the painting, evoking the universal themes of life, energy, and the interconnectedness of existence.
Included in the compendium **'In Statu Nascendi'** (Latin for "in the state of being born"), this work explores the idea of creation and transformation, both on a personal and cosmic level.
The inclusion of this piece in *'In Statu Nascendi'* further emphasizes its thematic focus on emergence and becoming, aligning it with the broader exploration of transformation and the eternal process of creation."
Price:
Price on request
'The Sands of Taym'
Mixedmedia on canvas
70 X 90 X 4 cm
“The title The Sands of Taym evokes a poetic resemblance to the English word ‘time,’ hinting at the interplay between language, perception, and the passage of moments. This work draws inspiration from the earliest graphic signs, known as ‘proto-glyphs,’ created by archaic cultures such as the Egyptian, Chinese, and Minoan civilizations (circa 4500–1600 BC). These ancient scribes captured and composed symbols that linked internal visions to external realities, laying the foundation for written language and the alphabetization of human experience.
Time, fused with these early attempts to document reality, shaped not only the perception of language but also the understanding of spatial dimensions. Neurobiological studies have identified brain regions in migratory birds that enable them to recognize the position of stars—a function that may parallel certain areas of the human brain involved in recognizing graphemes and alphabetic letters. While reading and writing are relatively recent developments in human history, these brain regions are millions of years old, suggesting they originally served to establish geometric references, much like the spatial navigation of birds.
This piece explores the idea that these ancient brain functions may have also influenced humanity’s perception of space, architecture, and the written word. Through layered textures and symbolic forms, The Sands of Taym invites viewers to reflect on the deep connections between time, language, and the spatial dimensions that shape our understanding of the world.”
Price:
SOLD
'OnYOn'
Mixedmedia on canvas.
23 X 17 X 1.5 inch
“Titled ‘OnYOn’, this canvas draws inspiration from the layered structure of an onion, symbolizing the multiplicity of meanings and interpretations embedded within. The title plays on the term ‘On’, which Plato used to signify an element of knowledge—not the known itself, but the foundation that allows for the recognition of natural entities. This concept is echoed in the root ‘-on’ of Ontology, the philosophical study of being and existence.
In the Italian language, the verb occupies a central role in defining the subject’s actions. Similarly, this work explores how each individual is shaped by their actions, which in turn influence others—not necessarily through intent, but through the consequences of those actions. This theme becomes particularly poignant in the context of modern technologies, where actions ripple across digital and physical realms, often with unintended outcomes.
Through its intricate layers and interplay of forms, ‘OnYOn’ invites viewers to peel back its meanings, much like an onion, revealing the complex relationship between action, identity, and the evolving nature of human interaction in a technologically driven world.”
Price:
Price on request
'Bouquheat Plantasia'
Mixedmedia on canvas
42 X 65 X 4 inch
“Inspired by Mort Garson’s groundbreaking album Plantasia. a celebration of nature’s harmony and humanity’s connection to the organic world. Just as Plantasia used synthesizers to create a lush, green soundscape, this work layers visual textures within my symbolic vocabulary and philosophical themes to evoke a similar sense of wonder and introspection.”
Price:
Price on request
'Segnali di Virtù per il Bambino (Θεαίτητος)'
Mixedmedia on canvas
145 X 80 X 4 cm
“The Theaetetus, a profound dialogue by Plato from his mature period (circa 386–367 BC), explores the nature of knowledge and its relationship to ‘being.’ In this work, Plato argues that true science and knowledge cannot exist without reference to ‘being’—the eternal and unchanging ideas that underlie reality.
Through Theaetetus, Plato invites us to consider knowledge as a bridge between cultures, ideas, and the eternal kid within thyself. It is a reminder that true understanding lies not in the fleeting impressions of the senses but in the timeless realm of ideas, where unity and connection reveal the deeper essence of reality.”
Price:
Price on request
'Ullikummi and the Golden Storm'
Oil, pigments, acrylics, drawing collages and sprays on canvas
33.4 X 57 X 1.5 inch
“This artwork draws inspiration from various interpretations of Hesiod’s Theogony and the ancient Hurrian myth of Ullikummi. In the myth, the storm god Teshub, aided by his brother Tasmisu, struggles to defeat Ullikummi, a colossal stone monster born to overthrow the gods. The tide turns when the wise god Ea intervenes, severing Ullikummi from the shoulder of Upelluri, the giant who carries the world. This act weakens the monster, leading to his eventual defeat."
Price:
Price on request
'Master of the Heat - συλλαβή'
Mixedmedia
60 X 40 X 4 cm
Private Collection
"Each of us comes from the Heat. Each of us is a little part of the Elements. Every thing except each syllable."
Price:
SOLD
'Chariot-Z'
House paint, acrylic, pastels, sprays, collages and digital metering on canvas.
79 X 79 X 2 inch
"The artist's Chariot is Itinerant within the Golden Ratio."
Via Colonna Contemporary Gallery
Price:
Price on request
'Genesi'
Mixedmedia on canvas
60 X 42 X 4 inch
Exhibited in the Duo Show Nature & Love
Curated by Master Ruha Gallery
N. 18, Rudong Road, Shinan District, Qingdao City, Shandong - Beijing, Qingdao, China
“Sobek, the ancient Egyptian crocodile god, has long been regarded as a dangerous and fearsome deity, lurking along the banks of the Nile, ever-watchful for his prey. Yet, for me, Sobek embodies a different essence: the power of patience and the quiet anticipation of new beginnings. He is not merely a predator bound by the need to hunt or the constraints of time, but a symbol of existence itself—steadfast, enduring, and timeless.
In this way, Sobek resonates with the Zen-like presence of Sekhmet, the lioness goddess of war and healing. Both deities transcend their traditional roles, representing the duality of creation and destruction, action and stillness, and the eternal flow of existence. This work invites viewers to contemplate the deeper, meditative qualities of these ancient symbols, reminding us that even in waiting, there is power and purpose.”
Price:
Price on request
'X-Cape'
Oil, acrylics and sprays on canvas. SIgned on the front.
65 X 45 X 4 cm
Exhibited in the Duo Show Nature & Love
Curated by Master Ruha Gallery
N. 18, Rudong Road, Shinan District, Qingdao City, Shandong - Beijing, Qingdao, China
“This work is a composite symbol built upon layered mediums, weaving together ancient and contemporary influences. At its core, it represents the union of Upper and Lower Egypt, depicted through adapted hieroglyphs inspired by the Sema-Tawy motif—a symbol of unity featuring the intertwined lotus flower (representing Upper Egypt) and papyrus (symbolizing Lower Egypt). These botanical elements are reimagined as dynamic, flowing forms that evoke both harmony and transformation.
Adding a playful yet profound layer of meaning, the ‘X Cape’ within the piece draws inspiration from the iconic opening mission of Crash Bandicoot 1, a vintage console game where the protagonist lands on a tropical isle. This reference bridges the ancient and the modern, connecting the timeless quest for unity and balance with the nostalgic joy of exploration and discovery.
Through this interplay of symbols and mediums, the work invites viewers to reflect on the enduring themes of connection, duality, and the cyclical nature of life—both in the physical and digital realms.”
Price:
Price on request
'Veins'
Graphite, charcoal, markers, paper, recycled paper
48 X 33 X 2 cm
“In ancient Greek and Roman cultures, the vase was a sacred liturgical element known as a rhyton—a perforated vessel from which liquids, poured during ceremonial libations, would flow. Originating in ancient Persia, where they were called takūk, rhytà became symbols of cultural exchange after the Greek victory over the Persians in 479 BC. Greek artists, inspired by these luxurious objects, began crafting their own interpretations, blending artistry with ritual.
The word rhyton is thought to derive from the Greek rhein, meaning ‘to flow,’ which traces back to the Indo-European root sreu-, also meaning ‘flow.’ This linguistic and cultural lineage is sublimated in the artwork, where the flowing of blood through lotus flowers symbolizes life, continuity, and the sacred exchange between humanity and the divine.
This piece reimagines the ancient rhyton as a contemporary meditation on flow—of history, culture, and the life force itself. It invites viewers to reflect on the interconnectedness of civilizations and the enduring power of art.”
Price:
SOLD
'Pho&Nyx'
Acrylics, oil, wall paint, dyes, pigments, marker, oil pastels and sprays on canvas
65 X 52 X 4 cm
In Statu Nascendi, pt.6
'Se parlare d'amore fosse parlare d'istanti.'
Status: Private Collection
“Phoenix Dactylifera, the scientific name for the date palm, is one of the most iconic plants in Egypt. Its name carries a poetic duality: ‘Pho,’ derived from the Greek root phos (light), and ‘Nyx,’ the ancient Greek personification of night. Together, they evoke the interplay of light and darkness—a theme mirrored in the mythological Phoenix, a symbol of rebirth and renewal.
The root ‘Pho’ not only connects to phos, the Greek word for light, but also to the photon, the fundamental unit of electromagnetic radiation. Yet, beyond the scientific and linguistic layers, what truly resonates is the natural power of love. Love, like light and night, exists in instants—fleeting, eternal, and transformative. ‘Pho’ and ‘Nyx’ are not merely roots of words but moments of spiritual sublimation, capturing the essence of existence in its purest form.
This work invites viewers to reflect on the cyclical nature of life, the interplay of opposites, and the eternal power of love as a force that transcends time and space.”
Price:
SOLD
'Ci'
Mixedmedia
80 X 60 X 4 cm
"The symbol of the circle represents the act of circling, giving rise to the verb ‘to circle’ before the graphic sign of the vowel ‘o’ (in Italian, ‘Cerchi.o’)—which is, once again, a circle. This cyclical imagery reflects the interconnectedness of wovel form and meaning.
When we speak, meanings flow through words like Qi energy between plants and natural elements. The graphic aspect of letters is the only element that can distinguish the nuances of meaning between words. Beyond speculation, truth is never contained within a single point but exists in the space between—a middle path where each circle ends within another, creating an endless loop of connection and interpretation.”
Price:
Price on request
'Arerit No Jutsu'
Mixedmedia.
19.7 X 11.8 X 1.5 inch
Medium: Overlying elements applied from a pre-worked HDR ultra-chrome ink transfer print on velvet matte stock paper.
Frame Options: Black/brown or white ayous frame.
Edition: 1 of 1 (Unique piece)
NFT Availability: Exclusive Non-Fungible Token (NFT) available via Foundation.app.
Status: For sale via Half of Venus Gallery.
“‘Arerit’ captures the fleeting moment of twilight—a short interval where day transitions into night, and the sky is bathed in a soft, diffused light. This ephemeral phase marks the first stage of a journey through a border location, the ‘Orange Ultra,’ where boundaries blur and new possibilities emerge.
The artwork is created using overlying elements applied to a pre-worked HDR ultra-chrome ink transfer print on luxurious velvet matte stock paper. The result is a mesmerizing interplay of light, texture, and depth, evoking the ethereal beauty of twilight.
Price:
SOLD
'Kissos (κισσός) - Ying.Yang'
Clay, ivy, ink and acrylics.
15.7 X 11 X 7.8 inch
“This sculpture intertwines the artist’s deep engagement with Plato’s Theaetetus, meditative practices, and the natural patterns of the ivy plant—a symbol of the ancient Greek deity Dionysus. The work embodies the interplay between life, earth, and death, serving as a bridge between the tangible and the metaphysical.
The artist’s statement: ‘As my spirit emerges from a fusion of earth and air, I breathe within Earth, and Earth speaks to me as an -On—a term Plato used to signify an element of knowledge. This is not the known itself, but the foundation that allows for the recognition of natural entities, as reflected in the root -on of Ontology, the study of being. This sculpture exists in the liminal space between Life, Earth, and Death. It is my attempt to translate reality through subjective interpretations, guided by universal approximations of natural elements—qualities I perceive and amplify through meditation.’
Price:
Price on request
'Fuoco / L'etica del Fuoco'
Clay, Wood, Sprays, Concrete, Acrylics & Sprays
13.7 X 5.9 X 4 inch
Sculpture featured in my conversation - 'Like the Death of a Star', conversation with writer, curator and performer Monique Michel (Au)
Conversation Abstract:
"I talk a lot about resonance in art, but resonance is really just a dynamic of life in general. In a world of billions of people, countless messaging, and a plethora of decisions going on within us and around us in a given moment, both conscious and unconscious, knowing how to register what resonance feels like is important. Connecting with art fosters this experience. Feeling the intention imbued in a piece by its creator is practice for feeling the intention imbued in life by THE creator – whoever or whatever that is. It’s the subtle connections we make from our past that we bring to the present that give it meaning."
Price:
Price on request
'Petra Genetrix'
Clay, ventilated car-brake, eriobotrya japonico branches, maple bark, acrylics and sprays.
39 X 31 X 15 inch
Art is the mirror of the impersonal stratum of the human psyche, the ‘Petra Genetrix’ of my being. This installation combines various elements into a single composition and is partly inspired by the 'Mysteries of Mithras,' the protector of the initiate. Based on numerous depictions found in the Mithraeum, it was born from a rock identified with the term 'Petra Genetrix.'
For more details about my current research and compendium 'In Statu Nascendi,' please visit my official Medium account.
Price:
Price on request
'Jinzo'
Iron, Gesso, Alluminium, Collages, Acrylics, 5Volt Led, Concrete.
7.8 X 5.6 X 4.2 inch
In Japanese, the term Jinzo (人造) translates to "artificial" or "man-made." It is used to describe objects, entities, or systems that have been created or constructed by humans, rather than occurring naturally. This term encompasses a wide range of creations, from artificial intelligence and robotics to synthetic materials and engineered environments.
This artwork explores the concept of Jinzo through a fusion of multiple techniques.
Through this piece, I invite reflection on the evolving relationship between humanity and its creations, asking: What does it mean to design, build, and coexist with the artificial? How do these creations redefine our understanding of nature, identity, and the boundaries of possibility as for ancient people?
Price:
Price on request
'Antanairesis'
Gesso, Clay, Sprays, Larch Leaves, 5Volt Led, Iron.
22 X 12 X 10 cm
"Also known as anthyphairesis, this ancient mathematical concept originates from Greek mathematics. It is a method for determining the greatest common divisor (GCD) of two numbers by iteratively subtracting the smaller number from the larger one until the remainder reaches zero. This process, which mirrors the Euclidean algorithm, is a cornerstone of number theory and reflects the Greeks' profound exploration of numerical relationships and properties.
Antanairesis represents more than a mathematical technique; it embodies the ancient pursuit of understanding harmony, proportion, and the intrinsic order of the universe. Through this method, the Greeks sought to unravel the hidden symmetries within numbers, laying the groundwork for centuries of mathematical and philosophical inquiry.
This artwork draws inspiration from the elegance of antanairesis, blending meticulous graphite drawings with digital rendering to visualize the interplay of numbers and their relationships. The included graphite sketch serves as a testament to the method’s iterative process, echoing the ancient Greeks' dedication to precision and discovery."
Price:
Price on request
'Socrates'
Clay, found objects, olive bark, acrylics and ink
15 X 25 X 14.8 cm
Socrates: So, those who hold false opinions believe that the things they know are not what they are, but rather other things among those they know, and thus, while knowing both things, they are ignorant of both?
Theaetetus: But that's impossible, Socrates!
Socrates: Then, do they believe that the things they do not know are other things among those they do not know? Is it possible for someone who does not know either Theaetetus or Socrates to think that Socrates is Theaetetus or that Theaetetus is Socrates?
Theaetetus: How could they?
Socrates: Surely, at least, one does not believe, I think, that the things they know are those they do not know, nor vice versa, that the things they do not know are those they know.
Theaetetus: That would indeed be incredible.
Socrates: So, how could one still form false opinions? Outside of these alternatives, it is impossible to have opinions, I think, since we either know all things or we do not know them
Price:
Price on request
'Aku-Aku'
Mixedmedia. 5 volt led.
44 X 32 X 8 cm
- Private collection
"Aku Aku is a wooden voodoo mask inside which resides the spirit of an ancient sorcerer which makes him alive and able to move, speak and continue to protect Earth from evil as he did when he was alive.
Aku Aku teams up with Crash and Coco to fight against Doctor Neo Cortex and Uka Uka. To help the two Aku Aku can divide his soul into various parts and spread them across the world, locking them in boxes with his effigy printed on them."
Price:
SOLD
'Natural Form (αναδυόμενες δυνατότητες)'
Mixedmedia on paper
19 X 11 X 1.5 inch
‘Vertumnus: The God of Many Forms is a Natural Form’
Medium: Graphite drawings, scanned photographs, digital collage, and rendering. Inkjet printing on 305 gsm archival paper.
Dimensions: 48 x 33 cm
“Vertumnus, the god whose name adapts to many forms, was not yet known for taming the river. Imagine teaching a computer to recognize images of entities, but instead of writing a program that describes every possible feature of an entity, you provide the computer with numerous images of entities and non-entities. This leads to the most subtle consequence regarding predictions: by agreeing that everyone thinks they know what an entity is, they implicitly admit, regarding their own belief, that the belief of those who hold contrary opinions is equally valid—or invalid. That is, they believe that everyone else believes falsely. From this, it does not follow that there is always a definitive conclusion, which is therefore non-infinite.”
This work explores the fluidity of identity, perception, and belief, drawing inspiration from Vertumnus, the Roman god of transformation and change. Through a combination of graphite drawings, scanned photographs, digital collage, and rendering, the piece challenges the boundaries between entities and non-entities, reality and illusion, and truth and falsehood.
Printed on high-quality 305 gsm archival paper, the artwork invites viewers to reflect on the nature of perception and the infinite possibilities that arise when boundaries are blurred.”
Price:
Price on request
'Aegyptiaka'
Mixedmedia on paper
19 X 11 X 1.5 inch
‘Desert Date: Balanites Aegyptiaca’
Sold out
Medium: Graphite drawings, scanned photographs, digital collage, and rendering. Inkjet printing on ULTRA-CHROME HD archival paper, 305 gsm.
Dimensions: 48 x 33 cm
“The desert date (Balanites aegyptiaca) is a highly adaptable plant that thrives in various soil types, including sandy and clay soils, as well as enduring droughts and occasional floods. Its resilience extends to fire resistance, thanks to its thick bark and deep roots. This work combines these elements of research with the concept of aegyptiaka—a historical compendium provided by ancient historians like Manetho, detailing anecdotes and insights into ancient Egyptian culture. Primary research sources inform the composition, which features background elements inspired by hieroglyphic steles housed in the Egyptian Museum of Turin, studied extensively by the artist.
Through a fusion of graphite drawings, scanned photographs, digital collage, and rendering, the piece is printed on high-quality ULTRA-CHROME HD archival paper, the artwork invites viewers to explore the interplay between nature, history, and human ingenuity.”
Price:
SOLD
'Orama'
Mixedmedia on paper
19 X 12 X 1.5 inch
**Sold Out**
New editions available exclusively on request
**Medium**: Graphite drawings, scanned photographs, digital collage, and rendering. Inkjet printing on archival paper (305 gsm), 48x33 cm (19"x12").
**Includes**: The original graphite drawing used for the final compositional approach is included with the artwork.
"A green growth emerges against an ocher backdrop, obscuring the divine figure that humanity seeks in its relationship with nature. *Orama*—derived from the Greek word for ‘vision’—reflects the intimate connection between the observer and the natural world. Like the dynamic between two lovers, this vision of nature becomes a mirror, revealing the spiritual elements that animate my gestures and creative impulses. The process begins with slow, deliberate drawing and cutting, followed by swift compositional decisions after scanning drafts and sketches. The result is a fusion of statuary icons and vegetal patterns, a mental exploration of the ancient relationship between humans and their natural environments. Through art and the depiction of nature, this work delves into the hidden aesthetic sublimation that has shaped our understanding of the world for centuries."
Price:
SOLD
'Euclide'
Graphite drawing, Photography, Digital Collages, Manual Collages and Digital render
33 X 48 X 4 cm
Sold Out
New editions available exclusively via the Gamma.io platform.
Medium: Graphite drawings, scanned photographs, digital collage, and rendering. Inkjet printing on archival paper (305 gsm).
Includes: The original graphite drawing used for the final compositional approach is included with the artwork.
Description:
"Euclid, an ancient Greek mathematician and philosopher, lived in Alexandria around 300 BC. He is best known for his seminal work, Elements, which systematically compiled and organized the mathematical knowledge of his time. This foundational text established Euclidean geometry, a coherent system that has shaped the development of geometry and influenced countless scientific disciplines. This artwork pays homage to Euclid’s legacy, blending graphite drawings, scanned photographs, and digital rendering to create a visual dialogue between ancient mathematical precision and contemporary artistic expression. The included graphite drawing serves as a bridge, connecting the meticulous process of creation with the final composition, much like Euclid’s Elements bridged the gap between abstract thought and practical application."
Price:
SOLD
'Elevation Merge'
Mixedmedia. Paper
19.7 X 11.8 X 1.5 inch
Private Collection in New York
Multi-panelled.
Price:
SOLD
'Kàtagma'
Mixedmedia. Paper
36 X 24 X 4 cm
Not for sale. Private collection of the Museo Materiali Minimi d'Arte Contemporanea, Paestum.
"Kàtagma, derived from the Greek word meaning "fracture," serves as a powerful symbol of rupture and opening. This work invites personal reflection on the ancient philosophical tension between Physis (Nature) and Nomos (Law or Convention). Rooted in the Sophistic movement of the 5th century BCE, this dichotomy explores the interplay between natural order and human-constructed systems.
Physis, representing the intrinsic essence of nature, took on a political dimension during this period, contrasting sharply with Nomos, the man-made laws and customs that define societal structures. Nomos emerged as the foundational "positive law of the polis," shaping the identity of communities through codified habits and traditions. Over time, these structures often became detached from the natural world, reflecting the sublimation of natural principles into rigid social frameworks.
Kàtagma embodies this fracture—both as a physical and conceptual divide—between the organic, untamed forces of Physis and the constructed, often artificial order of Nomos. It serves as a meditation on the enduring tension between nature and civilization, inviting viewers to contemplate the boundaries and intersections of these two realms."
Price:
Price on request
'Anthrakas'
Oil, dyes, ascrylics, pigments, graphite drawing and pastels.
17.7 X 11.9 X 1.3 inch
Overlying elements applied from a pre-worked HDR ultra-chrome ink transfer print on velvet matte stock paper.
*Anthrakas*, derived from the Greek word for "carbon," draws its inspiration from one of the most fundamental elements in the natural world. Carbon is the backbone of life, forming the essential structure of organic molecules that compose all living beings. Its unique ability to bond with other elements, creating complex chains and rings, enables the diversity and complexity of life as we know it—from the DNA that encodes our existence to the energy cycles that sustain it.
Beyond its scientific significance, carbon also carries a profound metaphorical weight. It is a bridge between the tangible and the intangible, the physical and the metaphysical. Carbon exists in the air we breathe, the food we consume, and the stars that illuminate the cosmos. It is a constant presence in both our waking reality and the realm of dreams, connecting the material world with the ephemeral nature of consciousness.
This work, through its layered composition and intricate technique, reflects on carbon’s dual role as a natural element and a symbol of life’s interconnectedness. The use of HDR ultra-chrome ink transfer on velvet matte stock paper enhances the depth and texture of the piece, evoking the richness and complexity of carbon’s role in the universe."
Price:
Price on request
'Shu'
Mixedmedia. Raw paper.
45 X 31 X 4 cm
The ancient Egyptian deity of wind, Shu, holds a pivotal role in the cosmology of creation. His name, meaning "He Who Raises," derives from his primary mythological function: the separation of his son Geb (the Earth) from his daughter Nut (the Sky). This act of division marked a fundamental moment in the creation of the world, establishing the order and structure of the cosmos. Without Shu’s intervention, the sky and earth would remain eternally intertwined, leaving no space for life to flourish.
Shu’s name also carries additional layers of meaning, as interpretations of ancient inscriptions suggest it can signify "Dry" or "Empty." These references evoke the nature of wind itself—dry, invisible, and life-giving. The wind, as embodied by Shu, is a force of both separation and connection, clearing the way for creation while sustaining the balance between earth and sky.
Beyond his physical and mythological roles, Shu represents the flow of spiritual energy. As the personification of air and wind, he symbolizes the breath of life—ankh—that animates all living beings. In Egyptian spirituality, air is not merely a physical element but a conduit for divine energy, linking the material and the ethereal. Shu’s presence is a reminder of the invisible forces that sustain existence, the unseen currents that carry life, and the spiritual energy that permeates the universe.
Through his dual role as a cosmic divider and a life-giving force, Shu embodies the harmony between creation and sustenance, structure and flow. His legacy endures as a symbol of the delicate balance that underpins both the natural world and the spiritual realm.
Price:
Price on request
'Wild Protector Mehen'
Mixedmedia.
50 X 70 X 4 cm
Private collection
"The earliest known references to Mehen, the ancient Egyptian protective deity, appear in the *Coffin Texts*. Mehen is depicted as a serpent who coils around the sun god Ra during his perilous journey through the night, particularly as described in the Amduat (the ancient Egyptian funerary text). This protective act mirrors the symbolism of the **Ouroboros**, the serpent that encircles and sustains the world. Mehen’s coils serve as a shield, safeguarding Ra from the dangers of the Duat (the underworld) and ensuring his rebirth at dawn.
Mehen’s protective embrace not only ensures Ra’s safe passage but also underscores the cyclical nature of existence: death and rebirth, darkness and light. As a guardian deity, Mehen embodies the resilience of life and the triumph of order over chaos. His presence in the ancient Egyptian pantheon highlights the profound spiritual belief in the power of protection, renewal, and the eternal struggle to maintain cosmic balance."
Price:
SOLD
'Two Sparks'
Mixedmedia on paper
48 X 33 X 4 cm
Private collection, Unique Edition
Graphite drawings and photograph scans, digital collage and rendering. Inkjet printing on archival paper, 305 gsm.
The original graphite drawing used for the final compositional approach is included with the artwork.
"Two Reigns as Two Sparks" This artwork deeply inspired by the ancient Egyptian symbol known as Sema-tauy (or sma-taui, or sema knot). This powerful emblem consists of the intertwining of two plants—the lotus flower, representing Upper Egypt, and the papyrus, symbolizing Lower Egypt—united around a central motif that also evokes the trachea and arteries. The Sema-tauy symbolizes the unification of the Two Lands under a single ruler, a pivotal moment in Egyptian history that marked the birth of a unified kingdom and the foundation of its enduring legacy.
In ancient Egyptian art, the Sema-tauy was often depicted on the sides of the cubic thrones of pharaohs, emphasizing their role as unifiers and protectors of the kingdom. It also appeared as an amulet placed on the bodies of the deceased, signifying the eternal integrity and unity of the body and spirit, even in the afterlife. This symbol thus transcends its political meaning, becoming a timeless representation of harmony, balance, and the interconnectedness of life and death."
Price:
SOLD
'Frequency'
Graphite drawing, sprays and paper on wood
33 X 24 X 4 cm
**Private collection.**
*Light exposition changes based on different moments of shooting.*
This small-format work on paper is created through the superimposition of multiple layers and mediums, blending traditional and contemporary elements into a cohesive visual narrative. At its core, the piece features **Ptah**, the ancient Egyptian deity revered as the protector of artisans, craftsmen, and creators. Ptah, often depicted as a mummified figure holding a scepter, was also considered a god of creation, believed to have brought the world into existence through the power of his words and thoughts. His association with craftsmanship and creation makes him a fitting symbol for the artistic process itself.
Through its layered composition, the piece invites viewers to reflect on the enduring relevance of ancient symbols in a technologically driven world. It questions how these frequencies—both literal and metaphorical—alter our understanding of reality, nature, and the divine."
Price:
SOLD
'Physis'
Graphite drawings and photographs scans, digital collage and rendering. Ink jet printing on archival paper, 305 gr
48 X 33 X 4 cm
Private Collection
**Graphite drawings and photograph scans, digital collage and rendering. Inkjet printing on archival paper, 305 gsm.**
*The original graphite drawing used for the final compositional approach is included with the artwork.*
"If I mirror myself within a natural setting, surrounded by vegetal elements, I will also discover what I can call my inner self—reflected in every organ that composes my body, my physiology. The term **‘physiologist’** (from the Greek *‘physis’*, meaning ‘nature’) was coined by **Aristotle** to describe those who contemplated nature as a means to propose and construct the earliest forms of legislative politics in ancient Athens. For these thinkers, the relationship between nature, body, and soul was inseparable. Nature, initially referred to as **‘Physis’**, was not merely an external force but a mirror of the human condition, a source of wisdom and a guide for understanding the self and the world.
This artwork explores the profound connection between the natural world and the inner self, drawing on the ancient belief that nature is both a reflection and an extension of our being.
By merging traditional artistic techniques with modern digital rendering, the work bridges the ancient and the contemporary, echoing the timeless pursuit of understanding ourselves through the lens of nature."
Price:
SOLD
'Nefertiti'
Mixedmedia
34 X 24 X 1.5 inch
Private Collection in Berlin
“Nefertiti, the ancient Egyptian queen and Great Royal Wife of Pharaoh Akhenaten, remains one of the most iconic and enigmatic figures of antiquity. Renowned for her unparalleled beauty and her pivotal role in the religious revolution of her time, Nefertiti’s legacy continues to captivate historians, artists, and admirers alike.
Her full name, Neferneferuaten Nefertiti, translates to ‘Beautiful are the Beauties of Aten, the Beautiful One has Come.’ Alongside Akhenaten, she championed a radical shift in Egyptian religion, moving from polytheism to the worship of a single deity, Aten—the sun disk. This transformative era, known as the Amarna Period, marked a profound departure from tradition and left an indelible mark on Egyptian history."
Price:
SOLD
'Protocollo del Blu'
Mixedmedia on canvas
70 X 50 X 4 cm
"Treated Each color as an ecosystem within itself. Each shade of a color is the response to the light stimulus. Each poetics behind the use of a specific color, is the reflection of the user, like a projection of these words onto their concepts."
Price:
Price on request
'Polemos'
Mixedmedia on canvas
38.1 X 34.2 X 1.5 inch
"Philosophically, the concept of *polemos* was profoundly examined by the pre-Socratic thinker Heraclitus. He posited that conflict and strife are fundamental to the fabric of existence, famously declaring, *'Polemos is the father of all things.'* This assertion underscores the belief that all change, creation, and transformation emerge from the tension between opposing forces. Heraclitus’s view highlights the dynamic, ever-shifting nature of reality, where balance and progress are born from the interplay of contradictions. However, *polemos* is often interpreted without fully considering the deeper dialectic between *physis* (nature) and *nomos* (law or convention), a relationship that reveals the intricate balance between natural order and human-imposed structure."
Price:
Price on request
'Geb'
Mixedmedia on canvas
38 X 34 X 1.5 inch
I Self-portrait me as Geb.
Price:
Price on request
'Matrice Desertica'
Mixedmedia. Canvas. Alluminium.
60 X 40 X 4 cm
Private Collection.
Price:
SOLD
'Spezzasigilli'
Mixedmedia. Canvas
55 X 35 X 4 cm
Diorite Sekhmet is inspired by the Egyptian Goddess statue of Sekhmet preserved at the Egyptian Museum in Turin and a concept of symbolism stolen by western culture aimed on a non-functional understanding of Eastern wisdom.
Exhibited in London at the Oxo Tower Wharf in the group show “Pandemonium & Order” curated by Cluster London Fairs in November 2022.
Price:
Price on request
'The Pyramids Texts'
Mixedmedia
29.5 X 25.5 X 1.6 inch
- Private Collection
"The Pyramid Texts" are the oldest Egyptian funerary hieroglyphic texts with religious meanings, dating back to the end of the Old Kingdom: the earliest known corpus of ancient Egyptian religious texts. Written in ancient hieroglyphics pictograms, were carved on the underground walls and sarcophagi of the Saqqara pyramids from the end of the fifth dynasty and throughout the sixth dynasty of the Old Kingdom, until the eighth dynasty of the early Intermediate period. These formulas were intended to ensure the protection of pharaoh's remains, reinfuse the spirit into his mummy and ensure his ascension among the gods and reunification with the sun-god Ra (a central idea in the spirituality of the ancient kingdom)."
Price:
SOLD
'Taurocatapsia'
Mixedmedia
55 X 48 X 4 cm
"Eurystheus ordered Heracles, as his seventh labor, to capture the bull of Crete; it is still debated whether it was the taurus sent by Eus and who transported Europa to Crete, or the other, who Minos refused to sacrifice to Poseidon and who generated the Minotaur with Pasiphae. When Heracles sailed to Crete, Minos offered him every help in his power, but Heracles preferred to meet the creature alone, although the animal spit flames from its nostrils. After a bitter fight, Heracles brought the bull back to Mycenae, where Eurystheus, dedicating it to Hera, set the animal free."
The archaic sporting ritual of Taurocatapsia is currently considered as the progenitor of modern traditional "Corrida", but without the aspects of man' suppression of the wild animal despite being a ritual older than 3000 years in respect of the modern tradition.
Price:
Price on request
'La Tredicesima Fatica'
Mixedmedia
95 X 89 X 4 cm
Painting exhibited at Van Der Plas Gallery, New York.Van Der Plas Gallery
156 Orchard St, New York, NY 10002, USA in the group show ' A Visual Culture ' 2021
This artwork draws inspiration from the Twelve Labors of Heracles (in Greek, Dodekathlos), a legendary series of feats from Greek mythology. These labors were undertaken by the hero Heracles (known as Hercules in Roman mythology) as penance for the tragic death of his family, a consequence of a moment of madness inflicted upon him by the goddess Hera. Each labor represents a monumental challenge, symbolizing strength, resilience, and the human struggle against seemingly insurmountable odds.
The painting specifically focuses on the third labor, where Heracles was tasked with capturing the Ceryneian Hind, a sacred and elusive creature with golden antlers and bronze hooves, dedicated to the goddess Artemis. This labor not only highlights Heracles' physical prowess but also his respect for the divine and his ability to navigate complex moral dilemmas.
Through this piece, the artist reinterprets the ancient myth, blending classical themes with contemporary artistic expression. The work invites viewers to reflect on the timeless nature of heroism, sacrifice, and the enduring power of mythological storytelling.
Price:
Price on request
'Fear is Ego'
House paint, Pigmented Gold Foil, Silicones, Acrylics, Oil pastels, Tempera and markers
80 X 60 X 4 cm
- Private collection
This painting represents the study of various mediums (acrylics, enamels, silicones, gold foil and more) instinctively applied on the support. Study of the decomposition of form. So called *Ego is the form, what makes us rational beings, fear is included in the package. I broke that down too.
Price:
SOLD
'Tyche'
Acrylics, sprays and collages on wood board
60 X 40 X 4 cm
"Term τύχη has the root of τυγχάνω (= to happen) and this gives the term a connotation not only of randomness, but also of inevitability. Significant for understanding this concept is a passage from Sophocles' Ajax' where the theme of inevitability is strengthened by ἀναγκαίας, feminine singular genitive of ἀνάγκη (= necessity). In fact, the Tyche, together with the Moira, is an impersonal force, believed to be able to completely overwhelm lives of men."
Price:
SOLD
'Third Door'
Oil and sprays on wood
80 X 60 X 4 cm
- Private collection
'The Book of Doors appears towards the end of the 18th dynasty and is normally inscribed in the burial chamber, or in the first colonnaded chamber, of many tombs. From the 20th dynasty to the 26th dynasty, the book is also depicted, albeit partially, on wooden sarcophagi.
The name of the composition refers to the 12 doors of the night, or the passage from one hour to another. The most complete versions are found in the tomb of Sethy I and Ramesses VI, describe within the third one. The Book of Doors is reported in several tombs in the Valley of the Kings (reported in chronological order of reign of the "Holders".
Price:
SOLD
'Cleopatra VII'
OIl, acrylics, oil pastels and sprays on wood panel.
75 X 50 X 4 cm
"Private Collection"
Oil, acrylics, oil pastels, and sprays on wood panel.
This vibrant mixed-media piece draws inspiration from the enigmatic allure of Cleopatra VII, the last active ruler of the Ptolemaic Kingdom of Egypt. Known for her intelligence, charisma, and political acumen, Cleopatra's legacy is evoked through rich textures and bold colors, blending ancient symbolism with contemporary expression. The layered techniques—oil's depth, acrylics' versatility, pastels' softness, and sprays' dynamism—mirror the complexity of her reign and enduring mystique. A tribute to power, beauty, and timeless influence.
Price:
SOLD
'Eseis'
Acrylics, oil and sprays on panel
70 X 50 X 4 cm
**Private Collection**
'Eseis'* is a tribute to the divine feminine essence of human creativity. The title, derived from a modified Greek noun, transforms *'eseis'* to mean *'to her'* rather than *'her,'* emphasizing the act of giving to and harmonizing with creativity, rather than possessing or controlling it. This piece celebrates the flow, collaboration, and reverence for the creative force, inviting a dance with inspiration rather than dominance over it.
Price:
SOLD
'Hexis Filosofica'
Acrylics, drawing collages, sprays and oil pastels on wood
60 X 40 X 4 cm
**Private Collection**
"Hexis" refers to a characteristic, capacity, or disposition that one *possesses*—a concept rooted in the Greek word *ekhein*, which signifies spiritual ownership or intrinsic being. This work explores the idea of *hexis* as an enduring essence, a quiet force that shapes identity and purpose. It invites reflection on the intangible qualities we carry within, those silent yet profound elements that define who we are and how we engage with the world. A meditation on the spiritual property of the self, both timeless and deeply personal.
Price:
SOLD
'Deus Ex Machina'
Mixedmedia. Canvas.
100 X 70 X 3 cm
Private Collection
"Deus ex machina is a Latin phrase derived from the Greek *"Mechanè"* (ancient Greek: *"apò mēchanḗs theós"*), literally translating to *"a god (descending) from the machine."* Originating in ancient Greek theater, it refers to a deity or character introduced abruptly to resolve an otherwise unsolvable plot, defying the natural logic of cause and effect. This concept, once a theatrical device, now symbolizes unexpected intervention or miraculous solutions in art and life. The work explores the tension between human struggle and the possibility of divine or unforeseen intervention, questioning the boundaries of resolution and fate.
Price:
SOLD
'Space Cadet'
Mixedmedia. Wood.
80 X 60 X 4 cm
From a Private Note.
05.2018 -
"Space Cadet" marks the beginning of my journey as an artist—a dive into the unknown, emerging as a cadet navigating the chaotic morgue of the urban landscape. This piece represents my first sold painting, a milestone where art became both my compass and shield. Just one week after unveiling it to the world, it found its new home, a testament to the resonance of its message. Free from the constraints of guilds or rigid structures, it embodies the boundless exploration of creativity, where space and time float beyond the studio walls. Art, here, is a universal aegis—a protective force and a guiding light, transcending limits and grounding me in the infinite possibilities of expression.
Price:
SOLD
'Capo Tribù Dogon'
Mixedmedia on board
40 X 64 X 4 cm
"Art, is a universal aegis." Much like the Dogon people of ancient Mali, who saw their art and cosmology as a protective shield connecting them to the divine and the cosmos, this piece embodies the idea of creation as both a sanctuary and a bridge to the infinite. Art, like the Dogon's sacred symbols and rituals, serves as a timeless guardian, sheltering the soul while guiding it through the mysteries of existence.
Price:
SOLD
'Techne (τέχνη)
Mixedmedia on canvas
90 X 60 X 4 cm
Private Collection*
*Tèchne*, meaning "art" in the sense of competence, skill, or knowing how to operate, encompasses the rules and principles applied to both intellectual and manual activities, such as painting. Etymologically, it shares roots with words like *technology* and *technique*, yet its essence transcends mere technicality. This composition explores the profound distance between the word's literal meaning and its concrete reality. Art cannot be confined to technical definitions; it is not something that exists within technique alone. Rather, technique is the foundation that, once mastered, allows one to move beyond it.
The term *Tèchne* originates from the philosophical world of ancient Greece, where the canon of beauty and art was largely confined to marble sculpture and human-scale proportions, as seen in Protagoras' thought and the construction of temples and architecture. Yet, art is not limited to technique, sculpture, or even the fusion of the two in architecture. Art is an invisible energy—a force that unites all techniques without being bound by any single one. It exists in the spaces between, flowing through and connecting them. *Tèchne* is not any one thing; it is the harmony that emerges from all. Art, as *Tèchne*, is the silent thread weaving through the tapestry of creation, neither defined by nor confined to its individual elements.
Price:
SOLD
'Mitoscopio - m4'
Mixedmedia on wood.
80 X 60 X 4 cm
Mitoscopio - m.4 is the second painting dedicated to the archeological project Medjehu, Investigating Woodcrafts along the Nile.
- Mitoscopio - m.4 elaborates some scientific characteristics symbolically linked to the technical functioning of carbon dating, in relation to the meaning of the Egyptian hieroglyph m-4 , which is a notched palm branch used to indicate the passage of time. As official donor of the archaeological project 'Medjehu' I realized this painting inspired by part of their research: (Hieroglyphs classification by Alan H. Gardiner book).
'Carbon-14, is affected by solar cosmic rays, rapidly oxidizes becoming carbon dioxide, entering the atmospheric carbon cycle, plants and animals absorb it with carbon dioxide, and when they die, they stop exchanging it with the biosphere and carbon decays within times determined by the radioactive decay law, thus, a historical chronology and timeline datation of the artifact, is obtained.'
During the last mission, part of the team was also able to work in the Carter magazines, where the most beautiful pieces discovered in the various Theban necropolises are kept. During these working sessions, we had the pleasure of making a magnificent discovery, or rather
rediscovery, with the identification of the black coffin with yellow decoration from Taat dating from the 18th dynasty, discovered and published by Bruyère in 1933 but which had completely disappeared at the time."
Price:
Price on request
'Eftys'
Mixedmedia on canvas
80 X 60 X 4 inch
Private Collection
Eftys could be imagined as a state of being or a philosophical principle that embodies the tension between effort and ease, struggle and surrender. It might represent the delicate balance required to navigate life’s challenges—where one must exert effort (effort) while also embracing the flow of existence (ease). In this sense, Eftys becomes a guiding principle for harmonizing action and acceptance.
Alternatively, Eftys could be envisioned as a mythical or metaphysical entity—a guardian of thresholds, symbolizing the transition between states of consciousness, realms of existence, or phases of personal growth. It might serve as a metaphor for the liminal spaces we encounter in life, where uncertainty and transformation coexist."
Price:
SOLD
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