I studied for fifteen years at the Ecole d’Art Martenot in Rome from nine to twentyfour years old.

Then I was the assistant of my Maestro the esteemed artist Loris Liberatori.

When I was at University during the summer I studied Renaissance painting techniques from the copyist painter Guido Venanzoni, who worked for the Borghese Museum among others.

I learned the digital and programming approach during my engineering studies.

In 2017 I founded with two partners the Murequal group of artists based on inclusive work

Thanks to the Murequal project we have exhibited and sold our works to the Banca d’Italia Collection.


All the paintings are made in oil on linen canvas (mostly Pieraccini fine grain 362 gr/sqm) with Bologna chalk and rabbit glue according to Renaissance recipes.

I use mainly Michael Harding colours, for the high quality of the pigments, the resistance to light, the use of noble oils that turn very little over the years like walnut oil. If necessary I also use the whites of Blockx, some Old Holland and old Lukas or Mussini colours that I found in an ancient Roman colour shop.

The frames are made of fir, handcrafted by the carpenter Mario Collu, who counts among his customers the Vatican Museums.

Every effort I make is aimed at guaranteeing my paintings the maximum possible extension in terms of luminosity and excellent durability through well-proven techniques.

Why I paint

I like to annoy. You know when as a child you used to see someone bullying but you were too scared to intervene? Well, now I’m a big boy and I don’t want to be quiet anymore. I see a lot of crooked things and I want to tell them. I’m not particularly angry with people who make mistakes, I always see myself in them a little bit, but that doesn’t make a wrong thing right.

And then I like painting a lot, all styles, everything Beautiful. I like the communication that can be achieved with an image; I like the play of colours that creates light and shadow, the poetry of complements; I like the strong contrasts of direct light as well as the close-up values of objects in half-light. I like the elegance of the compositions with few colours as well as the full tone mediated by the unsaturated values. I like to do a live pose, with the company of some old painter friend telling a story, with a coffee in one hand and some jazz music in the air.