b.1997 Florence, Italy
Lives and works in London

    2021   Becoming a Crane, Daisy’s Room Gallery, London, UK

    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


    2019   Next Choreography Festival, Siobhan Davies Dance, London, UK
    2019   Commixture: Performance Night, The Koppel Project Central, London, UK  

    2021   Sid Motion Gallery Prize (shortlist), London, UK
    2020   Grampus Heritage PEATS Program , Cyprus College of Art, Lemba, Cyprus
    2019   Silver Arts Award


    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’.