Heavy in White

Heavy in White, 1997-2001, silver gelatin prints on Ektalure G paper, toned with gold.  This body of works comprehends the following photographic series: Body Studies; Caryatids; Dessert Eaters; Distortions and Spaghetti Eaters

“The Heavy in White series was inspired by body-consciousness. It focuses on self-criticism and identity and refers and challenges at the same time classical and contemporary concepts of beauty and form. The process driven by spontaneity, parody and conceptuality produced a collective sense of liberation for all the women that worked with me on the series. The Heavy in White women are not trying to impress or perform. They are playing and eating with relish, celebrating their bodies without trying to be something other than what they are.”

All are silver gelatin prints toned with gold or tea and printed by the artist. All images were printed in a limited edition, usually of fewer than 12 prints. The remaining silver gelatin images from this series were printed on 16”x20”, 20”x24” or 8”x10” paper. The “Distortions” series was printed exclusively on 8”x10” paper. A limited edition of archival pigment prints is currently available for each image within the Heavy and White series upon request.



Globe, 2008-2010, silver gelatin photograph transferred onto transparency.

Globe was inspired by light. The title of the series refers to the translucent globe that is its recurrent element, alluring and elusive at the same time. In order to bring my vision to life I designed the images so that when a spotlight hit the globe an illusion was created of it being illuminated from within by an electric bulb. This exemplifies my vision of illuminated globe as a symbol of life force.”

All of these images are available with 22K gold leaf backing if desired (see Globe Gold Leaf series).


Gold Leaf

Gold Leaf, 2008-2010, silver gelatin photograph transferred onto transparency gilded with gold.

“For the Gold Leaf series I strove to create its characteristic ethereal tone by transferring a silver gelatin photograph onto a transparency and gilding it twice with 22-karat gold leaf. Gold added richness to the images and continued my exploration of light, in this case warm and natural, leading to an aesthetic effect that refers to the way light was recreated by the old masters.” 

All of the Globe Gold Leaf images come in various sizes. They are all made with 22K gold leaf.


Photo Sculptures

Photo Sculptures, 2001-2004, mixed media, variable dimensions. This body of works comprehends the following photographic series: After Dinner Boxes; Eye Sculptures; Nude Furniture; Cake Boxes; Time Pieces; Desired Objects and Wearable Body Parts.

In Photo Sculptures I highlight the mundane and its hidden beauty and irony applying photographs to common domestic objects in order to create 3-dimensional photo-sculptural artworks.

I let the objects themselves dictate scenarios, and I shot photographs specific to the objects that would display them. The intent is to give the object an inner story, in a way producing its fictional history or personality.

To help achieve their dreamlike glow I carefully tone my prints with tea or gold. I design my own objects and assemblies and to bring my concepts to life I often use the assistance of a fabricator, jeweler or carpenter.


The Dinner Conversation

The Dinner Conversation, 2011, 18 framed images and 8 objects, mixed media and archival pigment prints, each with a unique frame and museum glass; w:12’’ w:14’’ d:3’’ overall

“The idea for the Dinner Conversation, a multi-piece installation, came to me during an ordinary dinner with two friends: the man and woman featured in the central photograph. Watching them eat and talk across the table, I was fascinated by the impression of being suddenly part of a spontaneous theatre piece. I then decided to recreate the setting of that dinner conversation without giving them any specific direction but to enjoy their food and talk. Around them I pieced together several framed images and tridimensional objects that had different connections with them. Among these extra elements there also were three models disguised as framed portraits, instructed to simply follow the conversation. While their physical presence was evident in person, the photo I took passes them as framed images, tricking the viewer into the illusion that there are only two actors on the stage. The models’ presences become ambiguous images and decorative elements at the same time.”

The work is presented as an installation where a large photo of the dinner is surrounded by images and objects that were originally included in the dinner scene, together with bidimensional portraits of the models as they appear in the central picture. The differences between models and friends, theatre and real life, movement and stasis, mise-en-scène and happening, fades into each other, as in a vibrant, colorful and carefully planned theatre piece.

12’x14’ with 18 framed images and 8 objects, mixed media and archival pigment prints, each with a unique frame and museum glass. All of the limited edition images from this installation are individually available, unframed, in an edition of 10 each.


Motion Beyond Surface

Motion Beyond Surface, 2013-2015, multimedia installations. This body of works comprehends the following works: Water Words; New York, New York; The Sky, The Man and the Sea; The Pool; Irina’s Sunrise; Eternity and Coney Island Allison.

Motion Beyond Surface arises from the need to look past the confines of traditional photography. In this series I layered fixed and moving images and incorporated sound to allow the viewer to have an abstract yet tactile experience. Ocean waves or moving bodies beneath the water literally bring life to the still image. The videos’ rhythm and abstraction allows viewers to evoke their own feelings, stories and yearnings. The large scale of the works creates a poetic and immersive contemplative experience.”



Nyeja, 1982-1987, silver gelatin prints. 

“Until I met Nyeja I had only worked with still life, and he was in fact my first nude. My approach was mainly formalistic, looking for the sculptural qualities that Nyeja’s graceful and strong body evoked. I was particularly interested in the linearity, tonality, and material texture of my pictures, which were carefully hand toned using selenium. Nyeja was my main model and I worked with him for around five years, before life and AIDS pushed him away. We had followed almost daily rituals in which he would come to my loft when the sun was hitting my windows in the right way. Then his dance would begin, under natural light and the focused lens of my camera.”

Nyeja has been exhibited worldwide and is currently in the permanent collection of the Brooklyn Museum, New York; 
Chrysler Museum, Norfolk, Virginia; Yale University Art Center, New Haven; and 
Musee de l’Eysee, Lausanne, Switzerland.