








Drawing, Graphite on Paper
9.6 W x 6.5 H in
Framed, Ready to Hang
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My mother’s perfumes. Bottles carefully preserved, almost untouched, as if opening them would mean consuming a memory. The glass holds the light, and with it fragments of childhood: quiet preparations, gestures observed from afar, the scent that filled a room before her presence did. These are not m...
2018
Drawing, Graphite on Paper
One-of-a-kind Artwork
9.6 W x 6.5 H x 0.1 D in
Yes
Brown
Certificate is Included
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Switzerland.
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Switzerland
"Through painting, I explore the narrative power of objects. I am fascinated by the traces of what we use, accumulate, or forget. Each composition becomes a portrait — a silent story of our everyday life." Technique and Visual Approach I love using acrylics for their immediacy and for the possibility of applying color in a textured and vibrant way. I often leave the paint abundant, almost corporeal, because I believe that in this way the image gains a more tangible, physical presence — just like the reality it represents. I am interested in the play of balance: the way objects occupy space and interact with one another, approaching, distancing, and counterbalancing each other. I pay great attention to color relationships, as color, for me, holds a power capable of giving intensity and presence to objects without the need to push them beyond what is real. The Thought Behind the Image I paint still lifes composed of ordinary objects; sometimes dirty, used, or forgotten. I am drawn to things that usually go unnoticed but actually hold many stories within them: medicines, utensils, ripe fruit, packaging, remains. These are objects we use, consume, and live with every day without realizing it. Sometimes I choose them for what they represent; other times for their form or for the way they inhabit space, time, and memory. For me, objects are a form of portrait: they do not show a face, but they reveal habits, fragilities, and desires. They speak of those who remain unseen. In this sense, my paintings become portraits of absences: lives suggested through what remains. They do not judge, they observe. In exploring the things that surround us, the emotional and temporal dimensions take on a central role. Some objects outlive us; they are passed on, preserving the marks of time and carrying with them presences and absences, places, bonds, memories. Others are ephemeral, destined to wear out — disposable. Yet all of them, equally, deserve to be looked at. They are part of reality, and in painting they can find a space where they are welcomed.
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