Visual attraction, rational observation, stream of consciousness.

Kinesthetics, visual episodic effects.

Strengthening and weakening.

Archetypal metaphor.

Devotional.

Deprived of a clear storyline.

For many years I worked as a photographer before turning to drawing. My eye has been shaped by cinema: the frame, light, editing, the short film.

The way I work is close to cinema - a series of shifting scenes, rhythms and moments. Each drawing becomes a frame in a longer film of perception.

Once, as a tourist in Florence, I walked into the Zecchi shop, a few steps from the Duomo.

Pigment. Powder.

A kind of alchemy in jars.

That was the beginning of my close relationship with pigment. For me, a person without an art education, working with pigment became a kind of philosophy.

Monochrome. Pure in itself.

Self-sufficient.

Pigment, lying on the surface, carries its own independent power and life.

Powder that cannot be held if it does not want to stay. And that's what it's all about.

There is something sacred about it — alchemy that transforms the invisible into form, the fleeting into the eternal.

Taking the raw Florentine pigment powder in hand, skin meets mind.

Tactility begins where distance ends.

Running one's fingertips, open palm, cheek.

Nothing is fixed.

The material chooses its depth.

This is how a new series of works was born, united under the name Second Skin.

It's about dust, the powder that decides to stay, entering the canvas with water without residue.

I choose my canvases myself, in the shop, with my fingertips, with my nose.

The canvas is produced in an antica teleria in Gallarate, near Milan, according to ancient Italian weaving traditions.

The raw canvas carries its own history, its inner memory of hands and time.

I keep the folds, and the pencil marks left by those who measured and cut the canvas — a small notch at every metre. It matters to me to keep the touch of the hands that worked with the material.

My canvases are not stretched, they remain alive and responsive. This choice carries a wish to let the work breathe and exist as it is, unconfined.

My paper is not placed under glass. It invites the viewer to direct contact, proximity and tactility.

In 2026 I published my first book «Lorenzo's Gardens» — prose and photographs, in English and Italian. The book, the drawings and the photographs form one whole story.

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Exhibitions

2026 Cellai Boutique Hotel, Florence — solo exhibition

2025 Art Shopping, Carrousel du Louvre, Paris — art fair

Maria

Paris