Time emerges within the shared surface of a table—not as narrative,
but as material accumulation.
My practice stems from a background in industrial design in Milan,
where I learned to understand objects not as static forms, but as
systems of relation, use, and temporal experience. This perspective
continues to inform my work, approaching the canvas as a blueprint
where everyday objects, perception, and time are entangled.
Working with watercolor, woodblock print, ink, silver leaf, and
graphite on traditional Japanese hemp paper, I construct layered
analog environments in which material processes function as temporal
registers. Each medium carries a distinct temporality: woodblock
printing acts as a trace of what has already receded, watercolor as an
unstable present, and ink and metal leaf as shifting residues shaped
by absorption and reflection.
The recurring presence of cups, tables, and remnants of meals
functions structurally rather than symbolically, forming a field where
unstable relations can temporarily hold. This framework also reflects
my lived experience across diverse cultural contexts in Europe and
South America. Objects like white porcelain and blue pigments—which
historically migrated between East and West—carry shifting temporal
meanings. Within this structure, the cup becomes a site where past,
present, and future briefly converge before dispersing.
Ultimately, my work proposes that time is not a linear progression,
but a simultaneous condition embedded within material processes, human
perception, and the global movement of objects.
