01 Book
The book of the works, each with its title and its voice. Paintings, ceramics, commissions and the work on the table.
01
Works
A work that weaves myth and the Mediterranean: the female figure rises from the waves as a magical, timeless presence, surrounded by the sun, lemons and flowers. Intense colour and the symbols of nature evoke energy, femininity and the ancient pull of sea legends.
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02
Works
This work is born from the idea of an inner journey and holds a suspended, almost meditative quiet. The scene was conceived for a spa or for an intimate, gathered space. The arches, in their soft earthy tones, are not architecture: they are stages of a going beyond. In the foreground, shells and flowers make harmony. Each arch is an invitation to cross it, because it leads to something wider and deeper.
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03
Works
The work is born from the wish to catch the elegant, timeless soul of the Costa Smeralda, where architecture, sea and a way of living fuse into one harmony. The warm tones of the buildings evoke the golden light of a Sardinian sunset, while the sea beyond stands for freedom, dream and travel. The boutique and the sports car recall the discreet luxury of Porto Cervo, seen with an intimate, authentic eye. It is a tribute to an atmosphere: that feeling held between holiday and beauty, between design and nature.
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04
Works
A work that takes a stretch of coast and brings colour and beauty to those who sit at the table. May every moment be shared, authentic and full of flavour, just like the tastes and emotions that hold us together.
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05
Works
This work is born from a moment when night withdraws and day takes shape. I imagined the light slowly rising, watched by a silent and powerful presence: Vesuvius, motionless guardian of time and witness to every beginning. Matter comes to life like a dawn under the constant gaze of what remains.
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06
Works
A seascape held between reality and memory, where light, wind and waves fuse into living, vibrating matter. Free brushstrokes and texture evoke the movement of the sea and that intense freedom that rises before the horizon, while the scent of sea salt seems to come into the air.
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07
Works
A meeting of sea and land, where the force of the waves dissolves on golden sand. Material textures and warm tones evoke the heat of the sun, the movement of water and the luminous quiet of a day on the coast.
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08
Works
The work depicts a timeless landscape, ruled by a stone structure with a rhythmic sequence of arches. The solid, imposing building is the Temple of Jupiter: above it a green band of trees sets nature against architecture. In the distance a mountain ridge stands against an extraordinarily expressive sky.
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09
Works
This work holds a deep sense of peace and harmony with nature. The hilly landscape, crossed by a small stream and framed by lush trees, makes a serene, contemplative atmosphere. The delicate watercolour, dominated by greens and blues, evokes freshness, vitality and quiet. The waterfall and the houses in the distance keep man and landscape in balance.
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10
Works
A clipper on the waters of Porto Cervo, with a compass rose, real sand and rope, and the coordinates of the place written in gold. The work holds painting and matter together: the coast enters the picture, the boat stays on the line of the voyage. CLIPPER, since 1981 in Porto Cervo.
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11
Works
A work for the pizza and tavola calda at Circeo: Louis's face, the oven, the lemons and the bay beyond the arch. “Pizza is shared love”: the motto of the place becomes the heart of the painting, and the sea comes into the room with the bread.
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12
Works
From the Two Towers to the promontory of Circeo: a journey of life, passion and new roots. The work holds in one story the colours, flavours and soul of two places that meet at Casa Circeo, where Emilian hospitality embraces the beauty of the sea.
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13
Works
The coast enters the gesture of care: a hand, a bowl of flowers, the low houses on the bay. The work for Bellezza Gaia holds landscape and ritual together, as if the sea were part of the treatment.
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14
Works
A rest that looks at the sea: feet in the water, flowers, the lighthouse at sunset. The second plate for Bellezza Gaia, made for a space of care where the landscape becomes breath.
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15
Installed ceramic
The ceramic panel takes over the far wall of the dining room and gives the tables back the very bay that lies outside. Under the wicker lamps, the painted sea becomes the window the venue was missing.
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16
Works
The sun drops exactly at the centre and opens a column of gold on the water that reaches all the way to the shore. The hills stay in half-light: every bit of brightness is gathered into that vertical corridor.
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Vision 17
Spatial visions
Wooden beams, low cushions and a pool that brushes the sea: the work opens like a loggia and the sunset reaches right into the lounge. It is a painted threshold, and you cross it without leaving your seat.
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Vision 18
Spatial visions
The panel covers the white wall of a beach club, behind the sunbeds and the succulents, doubling the beach that lies in front of it. Natural light slides across the ceramic just as it does across water.
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19
Works
The yacht lies still on the line where the water changes colour, between the deep blue offshore and the pale shallows above the rocks. The sky is built in broad strokes: on glossy ceramic it still looks wet.
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20
Portraits
The artist stands beside the panel just installed in its white niche, with the real hillside rising beyond the wall. Two landscapes a few centimetres apart, sharing the same light.
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21
Installed ceramic
Twelve tiles of orange sky set into a lime-washed wall, between an olive tree and a yucca, above an outdoor sofa. When the real sun goes down, the work and the landscape settle on the same tone.
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22
Works
A high sun, a sky of fast clouds and the foam opening onto the sand: the wave is caught in the instant it surrenders to the shore. Transferred onto ceramic, it stays luminous even in direct light.
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23
Works
White staircases, shaded arches and three boats pulled up on the sand: the panel tells of a village overlooking its bay and the tower that guards it. Each tile holds a piece of that early-morning silence.
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24
Works
Two figures seen from behind on a bench, facing the sun as it settles onto the island: the scene is painted and at the same time built from sand, gravel and real dried flowers. The sunset stops being a landscape and becomes a moment shared by two people.
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Vision 25
Spatial visions
In the curved salon, among pale sofas and cushions, the work takes the whole wall and brings the sea being crossed back on board. The painted boat looks out at the sailing one.
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Vision 26
Spatial visions
The work is set into a wall of white arches, above a low bench and two potted olive trees. The architecture stays essential precisely because all the colour lives in the panel.
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27
Installed ceramic
A white entrance hall, a pot with a climbing plant, and at the end the panel that opens the wall onto the coast. The most anonymous passage in the house becomes the place where you look far away.
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28
Installed ceramic
The panel is set into a plastered niche, with a small blue spotlight just above its upper edge. The wall does not hold a painting: it opens up and reveals the coast.
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29
Works
The ceramic plaque born from Where Peace Flows: the tree, the falling water and the fields climbing towards the farmhouse, in a small format meant to be met up close.
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30
Installed ceramic
Laid tables, white curtains stirred by the air, and the panel continuing the bay along the inner wall. Whoever sits with their back to the window still has the sea in front of them.
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31
Installed ceramic
The plaque is fixed to the stone wall of a farmhouse, and a few metres away the path leads into the painted landscape. A small work that acts both as a nameplate and as a window.
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32
Portraits
The artist holds the work at eye level and behind her, at anchor, are the real yachts. The comparison is deliberate: the painting does not copy the scene, it holds on to it.
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33
Portraits
A white wall, an iron lantern and the panel with the village overlooking its harbour: the artist stands beside her work as she would beside a place she has lived in. The pose is simple; the wall tells the rest.
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34
Process
Coloured pencils in a row, a plate of white matter, and the brush returning to the wave for the twentieth time. The worktable says everything about the method: many techniques, a single surface.
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35
Process
A transparent sheet instead of a palette knife, and the white paste turning into foam on the already painted wave. This is the moment the picture starts to rise off the paper.
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36
Process
The work is almost finished and the blending stump still lies where it worked: on the line of foam between the dark sea and the sand. Up close you can see the plaster ridges that colour cannot hide.
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37
Process
A bed of sand, shells laid out in a curve, and the hand working with a brush a centimetre away from them. The materials of the project come from the very place the work describes.
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38
Sketches
A few pencil lines set down the coastline, the curve of the beach and the ridge of the hills: this is where the project decides where the light will go. All the colour comes later.
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39
Works
The original on paper, held down at the corners on a wooden table: the intermediate step between the pencil sketch and the panel that will end up in the dining room. The sea is already there, but the surface is still soft.
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40
Works
The trunks bend as they always have along Mediterranean shores, while the canopy stays green and weightless above the white of the raw matter. A landscape reduced to its essentials: tree, light, sea salt.
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Vision 41
Spatial visions
The arches piece rests on a small golden resin table, beside a striped vase and a plant: three objects are enough to show how it will live in a home. The gold leaf of the table answers the gold inside the drawing.
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Video 42
Process
The camera glides slowly over the work still open on the table: the sky is already orange, the tree stays backlit and the pale matter builds the ground in relief. No hurry, only the surface changing.
Video 43
Process
Watercolours, pencils and a plate of white matter share the table: the brush picks it up and carries it onto the wave, where it becomes raised foam. This is the moment when colour starts to rise off the paper.
Video 44
Process
The hand lets sand fall onto the relief and spreads it little by little, until colour and matter hold together. The petals stay pale, the ground turns to earth.
Video 45
Process
Shells lined up on a bed of sand, and the tip tracing the name slowly, the way you sign a work. The Mediterranean's raw material becomes a sheet of paper.
Video 46
Process
The paste is prepared on the plate and spread across the work, where it becomes the pale wall beneath the arches. The gesture is that of a plasterer; the scale is that of a painting.
Video 47
Sketches
A green pencil enters over the already-drawn trunk and builds the canopy leaf by leaf. This is the first layer: from here the tree can move on to watercolour, then to raw matter.
Video 48
Sketches
The pastel follows the curves of the fields and lights up the green around the houses: the landscape is born as a drawing, before becoming a surface. The construction lines are still visible.
Video 49
Spatial visions
A shelf in a real home: a metal figure, a driftwood branch, striped vases, and in the middle the arches piece with its raised flowers. The camera glides past and shows how the work comes to terms with everyday objects.
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02 A project
Tell me about the light, the wall, the place. I will reply myself, with a project made for you.
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