b.1997 Florence, Italy
Lives and works in London
SOLO EXHIBITION
2021 Becoming a Crane, Daisy’s Room Gallery, London, UK
GROUP EXHIBITIONS
2021 de nos jours, Osnova Gallery Off-site, London, UK
2021 Three Degrees of Seperation, Changing Room Gallery, London, UK
2021 Might Arrive, Safehouse 1,London, UK
2021 Walls All Around, Fusion Design Centre, Nottinghan, UK
2020
Unearthed, Cyprus College of Art, Lemba, Cyprus
2019 Twenty-Five Ponds, Off-site Group Show at Hampstead Heath, London, UK
2019 Get To Know You Better, The Cock Tavern, London, UK
2018 Young Modulus NW1, The Crypt Gallery, London, UK
2018 Intimità, Aji Tei, Florence, Italy
2018 Tate Exchange, Tate Modern, London, UK
PERFORMANCES
2019 Next Choreography Festival, Siobhan Davies Dance, London, UK
2019 Commixture: Performance Night, The Koppel Project Central, London, UK
AWARDS & RESIDENCIES
2021 Sid Motion Gallery Prize (shortlist), London, UK
2020 Grampus Heritage PEATS Program , Cyprus College of Art, Lemba, Cyprus
2019 Silver Arts Award
EDUCATION AND QUALIFICATIONS
2017-2021 BA Fine Art, Central Saint Martins
2018-2019 Next Choreography, Siobhan Davies Dance
2016-2017 Foundation Diploma in Art and Design, Central Saint Martins
Advocating for different modes of play, my works slip between sculpture, craft and childhood games such as origami and modelling flying mechanisms. Narratives are constructed in the emulation of specific gestural language; calligraphic practice, paper folding, or the movement of flight. Stories are often being told when a subject or object rhymes its way through a seemingly unrelated setting. Often documented in moving-image or sculptural forms, the making process consists of repeated trial and error, which overtime creates a causal history of material and labour. Manifesting as forms of movement, the act of making becomes a process of recollection. This methodology is currently rooted in my interest in causality; cultural and archival inheritance; the process of translation; personal and collective history.
Formatting the artworks as an anecdote or a prediction that is in opposition to arrival, I aim to think less of producing the artwork for presentation at a set moment, instead, working out a way to reconfigure the temporal constraints of spectacles discovered along the way. Often times the objects undergo a constant state of ‘shape-shifting’, audiences are encouraged to question their past and future itinerary, working out the causal relationship between them. Through toying with materiality beyond a known material state, the objects’ are stripped of their predetermined functions, and caught in their process of ‘becoming’.