2025 | 26×26cm | £285

100% waste: offshore foundation cover.

2025 | 31×31cm | £385

100% waste: offshore foundation cover.

2025 | 31×31cm | £385

100% waste: offshore foundation cover and outer dinghy layer.

2025 | 50×50cm | £850

100% waste: actimel bottles, fruit ners, food box strings, buttons, cork cages, business cards, coffee capsules, ring pulls and plastic caps.

2024 | ~70x70cm | £1500

100% waste: used drinking yoghurt bottles, old business cards, fruit nets, ring pulls, abandoned buttons and similar bits, found plastic grass, stock cube wraps and food box strings

2025 | ~61x61cm | £1100

100% waste: used drinking yoghurt bottles, fruit nets, ring pulls, abandoned buttons and food box strings.

2025 | 100×100cm | £1750

100% waste:  discarded Actimel bottles, leftover buttons, bits, bobs, fruit nets, ringpulls, old business cards and a whole lot of stitching, crocheting and loving on recycled fabric, on the eco-friendly print of its predecessor A Monument to Summer.

It is entirely rollable and easily carriable under one arm, as it is extremely light (less than 5 kg).

2025 |100×100cm | £1750

100% waste: actimel/benacol bottles, fruit nets, buttons, cork cages and business cards.

2025 | 100x100cm | £1750

100% waste: Actimel / Benacol bottles, fruit nets, coffee pods, buttons, builder’s net on recycled fabric.

2025.| 41×41cm | £500

100% waste: used coffee capsules, Benacol bottles, fruit nets, buttons and cork cages.

Seagrass meadows play a crucial role in coral reef island ecosystems. They produce sediments that are essential for building and maintaining island shorelines, which is vital for resilience against climate change and sea-level rise. Despite their importance, seagrass meadows are often overlooked and removed by the tourist industry for aesthetic reasons.

2025 | 31×31cm | £275

100% waste: used coffee capsules, buttons, and a builder’s net.

Seagrass meadows play a crucial role in coral reef island ecosystems. They produce sediments that are essential for building and maintaining island shorelines, which is vital for resilience against climate change and sea-level rise. Despite their importance, seagrass meadows are often overlooked and removed by the tourist industry for aesthetic reasons.

2025 | 77×77cm | £1500

100% waste: used plastic bottle, coffee pods and leftover buttons.

2024 | 100x100cm | £2,750

100% waste: 1000+ fruit nets collected over 6 years.

A healthy coral reef made with its nemesis. Following my residency at ISMAR in Venice, continuing my dialogue on the state of our seas and the need to protect this ecosystem, which is core to our survival.

Experimenting on ways to make humans empathise with a habitat we are not meant for by expressing its beauty and perfection, to which we are instinctively drawn. Using familiar containers of daily food to stimulate empathy.

Trying different textures to recreate both the grains of the seabed and the complexity of water and its many components, starting with the easiest and most immediate to understand for us such as air bubbles, as a sign of human presence.

2025 | 66×66×8cm | £ 1,200

100% waste: 290 Actimel/Benacol/… bottles and just as many abandoned buttons.

A marine scene, familiarisingthe viewer wit hthe world under the waves, so precious for our survival.

Exploring the oxymoron of the plants' existence, becoming in time their own waste and nemesis, highlighting the weight of human intervention in this subversive act of creation and destruction.

On display at Simar Joinery, 51a, 51b Cleveland St, London W1T 4JH

2024 | 76×76cm | £1,500

100% waste: 417 discarded Actimel bottles and c.1000 leftover buttons.

The initial piece in a series made mainly with plastic waste on wood, it represents the millennial chain of changes that trees undergo, from wood to petroleum, and finally to plastic. I am truly fascinated by this oxymoron of the plants' existence, becoming in time their own waste and nemesis, highlighting the weight of human intervention in this subversive act of creation and destruction.

Starring in a short for a quick giggle below.

2025 | 41×41cm | £500

1100% waste: Actimel/Benacol bottles, coffee pods, corks and cork cages.

100% waste: 417 discarded Actimel bottles and c.1000 leftover buttons

The initial piece in a series made mainly with plastic waste on wood, it represents the millennial chain of changes that trees undergo, from wood to petroleum, and finally to plastic. I am truly fascinated by this oxymoron of the plants' existence, becoming in time their own waste and nemesis, highlighting the weight of human intervention in this subversive act of creation and destruction.

2025 | 31x31cm | £350

100% waste: Actimel/Benacol bottles, coffee pods, corks and cork cages.

100% waste: 417 discarded Actimel bottles and c.1000 leftover buttons

The initial piece in a series made mainly with plastic waste on wood, it represents the millennial chain of changes that trees undergo, from wood to petroleum, and finally to plastic. I am truly fascinated by this oxymoron of the plants' existence, becoming in time their own waste and nemesis, highlighting the weight of human intervention in this subversive act of creation and destruction.

2025 | 26x26cm | £200

100% waste: Actimel/Benacol bottles, coffee pods, corks and cork cages.

100% waste: 417 discarded Actimel bottles and c.1000 leftover buttons

The initial piece in a series made mainly with plastic waste on wood, it represents the millennial chain of changes that trees undergo, from wood to petroleum, and finally to plastic. I am truly fascinated by this oxymoron of the plants' existence, becoming in time their own waste and nemesis, highlighting the weight of human intervention in this subversive act of creation and destruction.

2025 | 20x20cm | £120

100% waste: Actimel/Benacol bottles, coffee pods, corks and cork cages.

100% waste: 417 discarded Actimel bottles and c.1000 leftover buttons

The initial piece in a series made mainly with plastic waste on wood, it represents the millennial chain of changes that trees undergo, from wood to petroleum, and finally to plastic. I am truly fascinated by this oxymoron of the plants' existence, becoming in time their own waste and nemesis, highlighting the weight of human intervention in this subversive act of creation and destruction.

2025 | 100×100cm | SOLD ON AUCTION

100% waste: used coffee pods and corks.

Donated for an auction in favour of Action for A-T.

Following my collaboration (now retainer) with the Insititute of Marine Sciences in Venice, this piece aims at making the viewer empathise with our oceans, emphasize their essential role in regulating the planet’s climate, producing oxygen, and sustaining life, and the urgent need to protect these vast, life-giving ecosystems from growing threats.

Reimagining the underwater world as a thriving garden, transforming everyday items of waste - coffee pods - into flowers to represent corals. Experimenting on ways to make humans empathise with a habitat we are not meant for by drawing on the symbolic beauty of flowers, to which we are instinctively drawn, and using familiar containers of daily food to stimulate empathy.

2024 | 15x20cm | £120 - SOLD

100% waste: used newspapers and hairdresser’s foils and leftover fabric

Brunette, mid-40’s. Reads the FT. Spotted on the Elizabeth line, she probably works in Finance.

2024 | 20x25cm | £180 - SOLD

100% waste: used newspapers, hairdresser’s foils and leftover fabric

Dark hair, early 30’s. Vintage revivalist, loves polka dots and dark fuchsia lipstick. Spotted on the Piccadilly line. Might work in theatre?

2024 | 20x25cm | £180

100% waste: used newspapers, hairdresser’s foils and leftover fabric

Cherry red lipstick, layers of black crocheting and golden drop earrings. Certainly dropped here from another time, but well at ease on the Northern line

2024 | 20x25cm | £180

100% waste: used newspapers, hairdresser’s foils and leftover fabric.

Platinum blonde and pink galore. Accurate and neat in every exquisitely eccentric detail. Reading the property section. Graphic designer?

2024 | 15x20cm | £120 - SOLD

100% waste: used hairdresser’s foils and leftover fabric.

Brunette, dressed in camel and gold, pink camisole. Elegant with a statement. Consultant of some sort - or a headhunter? Spotted queuing at Pret in Mayfair for an oat latte.

2024 | 20x25cm | £180 | SOLD

100% waste: used hairdresser’s foils and leftover fabric.

Late 30’s, spotted at Tate Britain’s member night wearing a baby blue 70’s suit, a long raspberry scarf and black lipstick. Walks with panache and a captivating smile. Designer?

2024 | 15x20cm | £120 - SOLD

100% waste: used hairdresser’s foils and leftover fabric.

Heavy flowery glasses, low waist stripe trousers and a puffy taupe corduroy jacket. Late 20’s. Spotted happily chitchatting and zig-zagging on Westbourne Grove. Student? £120.

2024 | 23x30cm | £240 - SOLD

100% waste: used hairdresser’s foils and leftover fabric.

Jeans, white T-shirt and blue parka unzipped. Heavy theatrical make-up, age hard to tell. Hands in pockets, walking head-on with purpose on Long Acre. In theatre. Out for a bite?

2025 | 23×30cm | £240

100% waste: used hairdresser’s foils, toilet paper wrap and leftover fabric.

In an oversized denim jacket, layered over a neon pink hoodie paired with relaxed denim jeans and vibrant, lime-green high-top sneakers. Bold, mismatched neon bracelets and a fanny pack in glowing yellow slung casually across the torso, Izzy is both unapologetically fun and effortlessly cool. Could be anyone who doesn’t want to be left behind when you go-go.

2025 | 23×30cm | £240 | SOLD

100% waste: used hairdresser’s foils, toilet paper wrap and leftover fabric.

A patchwork jumpsuit shimmering with orange, pink and sage green, and a polka-dotted shirt. Orange lipstick. Spotted repurposing discarded jewellery pieces into unique creations, blending '70s flair with a modern, sustainable twist around Brick Lane.

2025 | 23×30cm | £240 | SOLD

100% waste: used hairdresser’s foils, toilet paper wrap and leftover fabric.

Half hidden by the green bag of garden waste, in the front lawn of an Edwardian house in Ealing. Straw hat, polka dot gloves. Crouched among some freshly planted yellow primroses.

2025 | 15×20cm | £120 - SOLD

100% waste: used hairdresser’s foils, toilet paper wrap and leftover fabric.

Dressed in an asymmetrical blue coat with golden patterns, a green scarf, and a scarlet cuff, strides confidently through Brixton market. Exploring the vibrant stalls, sketching and gathering found objects. Artist?

2025 | 61x92cm | £750

100% waste: a dinghy, lifting straps, zips and other offcuts from fire hoses and from an offshore foundation cover (courtesy of Britton SCOTLAND, where it is also on permanet exhibition).

Concurrently with a weekend with Fish Net Zero, recovering ghost gear from the sea and releasing trapped wildlife. Is orange just a coincidence?🦞

A stand for the right of every and any creature in need, including the lobster we freed from the pot recovered from the shipwreck, breaking its vicious cycle of death and entrapment.

2025 | 91x62cm

100% waste: discarded fabric, floats, paper, and hairdresser’s foils.

Rainbow-rimmed glasses catching the light, Spotted browsing vintage records in Portobello Market on a Saturday morning. Their coat is a patchwork of stories—each swirl a memory, each hue a mood. Multiple layered necklaces in complementary hues suggest an eye for detail and sustainable fashion. Hair streaked with silver, lips a muted plum, and boots patched with velvet and vinyl. Textile artist or creative director?

2025 | 20x15cm | £120

100% waste: discarded fabric, paper, and hairdresser’s foils.

Draped in layers of deep burgundy velvet and cream silk scarves, Quinn glides through the foyer of the Royal Opera House with quiet confidence. Their lips are stained with wine, their silver hair elegantly pinned back. They hold a well-worn leather programme from decades of performances. Every gesture speaks of a life steeped in culture and grace. Opera critic or retired performer?

2025 | 62x76cm | £1,300

100% waste: leftover fabric and used paper

Silver hair, muted plum lips, and a tailored ensemble in deep teal and rust. At the collar, a sculptural pin made from layered green foils and translucent scraps refracts the light—casting soft glimmers of moss, jade, and lime. Composed, discerning, and quietly magnetic. Art critic or theatre director?

2025 | 20x25cm | £180

100% waste: my daughter’s old clothes, used hairdressers’ foils and scrap paper.

Grey T-shirt with shoulders cut off, blue vintage hoodie and wide jeans, tightened at the waist with a shoelace. Vinted fan. Fake eyelashes to complement an impeccable natural look makeup.

2024 | 76×76cm | £1250

100% waste: hundreds of used hairdresser’s foils.

Visually reproducing the sound and vibrations obtained by the fall of a metal object on a hard surface under water, like a pin in a pool, or on a pebble in a pond.

2024 | 51×51cm | £650

100% waste: leftover fabric and used hairdresser’s foils.

Visually reproducing the sound and vibrations obtained by the fall of water drops on a body of water, dampened by the soft mud or sand bed underneath.

2024 | 21x21cm | £120

100% waste: leftover fabric, part of an old duvet cover and used hairdresser’s foils.

Visually reproducing the sound and vibrations obtained by the fall of a water drop on a pond, dampened by the muddy bed.

2024 | 31×31cm | £350

100% waste: leftover fabric, part of an old duvet cover and used hairdresser’s foils.

Visually reproducing the sound and vibrations obtained by the fall of a ⁠water drop on a pond, dampened by the muddy bed.

2024 | 41×41cm | £450

100% waste: : leftover fabric, used hairdresser’s foils. 41x41cm.

Visually reproducing the sound and vibrations obtained by the fall of a⁠a water drop on a smooth surface, such a leaf or a window pane, and it transient shape and presence.

2022 | 50x50cm | £650

100% waste: roughly 400 screw caps and just as many ring pulls.

Complex flavours that include cherry, raspberry, mushroom and forest floor, plus vanilla and baking spice when aged in French oak. And this one is!

On display at Halcyon Interiors, 120 Wigmore St, London W1U 3RU

2022 | 50x50cm | £650

100% waste: roughly 400 screw caps and just as many ring pulls.

Delicate and aromatic, with red fruit aromas of cherry, strawberry, raspberry and tomato, and a savoury character of dried herbs, fresh bell pepper, roasted red pepper, fresh mint and pencil shavings. And the taste of home for me.

Latest gossip from the vineyards is that Cabernet Franc is no longer in fashion. Shame – although it does not stop me from considering it my favourite red varietal wine! Even more so as a vegan, whereby I now find it a great companion for nearly all dishes.

On display at London Mindsports Centre, 21 Dalling Rd, London W6 0JD

2022 | 50x50cm | £650 | SOLD

100% waste: roughly 400 screw caps and just as many ring pulls.

Rich flavours of blackberry, black plums and blackcurrant with spicy, leathery and liquorice notes in hotter regions and gamey, truffle notes developing with little age.

Coonawarra Shiraz is the one I most enjoy whilst having dinner barefoot at home with damp hair, after a rainy day spent running motherly errands.

2022 | 50x50cm | £650

100% waste: roughly 400 screw caps and just as many ring pulls.

Powerful and bold, with black fruit notes of black cherry, vegetal notes of green pepper, and spice notes of vanilla from oak ageing.

One in particular is still floating in my memory, as I recall thinking it was just 'perfect'. From Sicily, which I thought was quite unexpected for this variety!

On display at London Mindsports Centre, 21 Dalling Rd, London W6 0JD

2022 | 50x50cm | £650

100% waste: roughly 400 screw caps and just as many ring pulls.

Dark fruit flavours of black cherry, blackberry, plum, and raspberries layered with herbal notes and undertones of vanilla and mocha.

On display at London Mindsports Centre, 21 Dalling Rd, London W6 0JD

2021 | 50x50cm | £650

100% waste: about 400 wine bottle screw caps and 1000 ring pulls.

Hints of red berries, bell pepper, some blueberry and blackberry en passant and a note of bittersweet cocoa.

On display at Halcyon Interiors, 120 Wigmore St, London W1U 3RU

2022 | 51x77cm | £950 | SOLD

100% household waste.

Commission for a couple of beautiful people, made with their own beautiful waste.

2022v| 76x76cm | £750 | SOLD

100% waste: 45 screw caps and about 300 foils.

Savouring the idea of delicious food made with waste

2022 | 76x76cm | £750 | SOLD

100% waste: 46 screw caps and about 300 foils.

Savouring the idea of delicious food made with waste

2025 | 21×21cm | £90

100% waste: used papers and covers from a discarded dinghy.

2025 | 21×21cm | £90

100% waste: used papers and covers from a discarded dinghy.

22025 | 21×21cm | £90

100% waste: used papers and covers from a discarded dinghy.

2024 { 40x75 cm | £900

100% waste: used hairdresser's foils, used magazines and leftover fabric.

For all wildlife, both plants and animals. 20% of land on Earth is used to raise sentient creatures for slaughter.

For the farmed creatures. They feel, they think, they love and we slaughter them for a few seconds of pleasure. Meat, milk, eggs: all contributing equally.

For our children. Because we are literally, systematically killing their future.

For us. To be better, kinder, and respect the beautiful planet we inhabit. And live healthier and longer. To save lives, and save Life.

2024 | 270 x 110cm or 150 x 210cm | £6000

100% waste: used hairdresser's foils, papers and magazines (leftovers from a commission), 85 screw caps and some fabric leftovers.

This is my 'kindest' piece so far, yet most likely the most controversial. Chances are that over 90% of you will not like its message: because in this case LOVe might be 100% rubbish, but it is also 100% Vegan.

For I love my children, and I want them to have a future. Roughly a third of carbon emissions can be cut down by going Ve.

For in my books love is kind, and cannot be cruelty towards any sentient being. And going Ve is the only way.

For the world belongs to all, and it is my duty to be my best self toward it. And...yes. Ve

If you are kind, you choose Vegan... for there is no alternative.

2024 | c.110x110cm | £600

100% waste: used hairdresser’s foils, newspapers, and leftover fabric.

Just like the vibrant Art Deco font it is made in, this piece is full of potential, possibilities, and on the verge of new greatness. Watch us bring humanity to new heights, in the whirlwind of a love revolution for the survival of all creatures.

Such a kind piece, yet so controversial! Why...?

Did you know we could save one third of carbon emissions just by being kind and going Vegan? If we were looking for a magic button to press to slow down climate change, this is it!

Do you actually share the common bias that kindness for all creatures, for our children, for the planet - and for our own health! - is extreme? Or rather, do you agree that extreme is unnecessarily killing 900,000 cows, 1.4 million goats, 1.7 million sheep, 3.8 million pigs, 12 million ducks, 202 million chickens and hundreds of millions of fish every day, whilst dooming our children to extinction, and all for the sake of our tastebuds?

Join the Kindness Revolution. Be The Change. Be GenVe

2024 | 277 x 92cm | £4800

100% waste: thousands of crown caps, hundreds of corks and leftover wall paint.

Part of my vegan series, it should probably be read “LIVee”.

In Playbill font, this quartet speaks of the Far West, easy bullets, numbing whiskey and toiled wood, where those few precious bricks were reserved for the town cell. Yet this mors tua, vita mea vibe here evolves into the Vegan symbol, pointing to exactly the opposite philosophy. For I like to believe that we have indeed come this far, where we finally understand that our individual survival is strictly connected to and dependent upon the survival of all other creatures. Where diversity is not feared and suppressed, but rather welcomed and fostered. To a new perspective on the whole: vita tua, vita nostra.

2024 | 140 x 31cm or c. 45 x 100 cm | £650

100% waste: hundreds of cans and corks and leftover wall paint.

Art Nouveau to recall La Dolce Vita, un aperitivo in piazza and a pampering dinner. The ideal of a style no longer sustainable, yet still so dearly engrained in our culture.

What does it take to swap flesh for fresh, pig for a pea, and keep it going rather than end it in flames and floods instead?

2018-2024 | 100x100cm | £2,750

100% waste: discarded Actimel bottles, leftover buttons, bits, bobs, fruit nets, ringpulls, old business cards and a whole lot of stitching, crocheting and loving on a few layers.

Half of the original 1x2m eco-experimental piece made in 2018, which could be rolled onto itself and easily carried under one arm. This eco-installation, made rollable with rigid materials originally as a sample for a NYC gallery, was one of those pieces never quite finished, never quite right. Now halved, reworked, patched up and installed onto leftover board pieces and just as it was meant to be.

Representing nature in its nemesis, an abundance of diversity in shapes and colours which will forever remind us of how Summer used to be before plastic, pollution and deforestation caused these drastic changes we are already beginning to see, made with the very own material which caused them.

2024 | 45x45cm | £850 | SOLD

100% waste, roughly 180 plastic medicine vials.

Extremely unlikely is bound to become increasingly likely, as we are facing a new reality, shape-shifting at increasing speed. Like crocodiles in proximity of coral reefs, a reality which is becoming increasingly common as a phenomenon of climate change.

Continuing the series on our marine eco-system, so closely linked to the rest of our planet, and so essential to our survival. Legacy of my remarkable residency at the Institute of Marine Sciences in Venice.

2024 | 76x76cm | £2,750

100% waste: 1310 medicine vials (collected in just as many days) and a few impostors. Roughly 5,600 pieces overall.

When they see her for the future bride of the prince, and no longer as a servant. And the Impostor Syndrome she probably feels thereon - the same I sometimes, inevitably, feel with my work.

2018 | 25x43cm | £750

100% 'trashure': a year worth's supply of the same medicine vial, fruit nets and used plastic cutlery.

Not only I wonder how long humans will be able to eat other creatures sustainably, but also how long before plastic replaces organic material substantially - either through conscious human intervention or through hormonal assimilation...

2017 | 36x45cm | £1200

Used Actimel bottles, and leftover buttons on wooden board.

An artificial beehive: the more we advance in every field, the more we imitate Nature’s perfection…but rather that recreating it artificially, should we not safeguard the real thing instead?

2017 | 34 x 50cm | £1250 | SOLD

100% waste: used Actimel bottles and glass from a broken hospital window on wooden board.

It is fascinating to see how, the more we advance in every field, the more we imitate Nature’s perfection…but rather that recreating it artificially, should we not safeguard the real thing instead?

2019 | 38x22x6cm | £650 | SOLD

100% waste: discarded used plastic coffee cups, screws and nails on reused MDF board.

2019 | 32x12x6cm | £650 | SOLD

Plastic and metal, 100% reused discarded material: around 800 pins and a needle on discarded MDF shelf.

I wonder if the board feels the same?

2020 | 50x50x10cm | £740 | SOLD

100% rubbish, almost entirely from dry cleaning packaging, collected over a year.

2021 | 50x50cm | £650 | SOLD

100% waste: 10 years' worth of unwanted cables, unclaimed or refused by the various network providers.

2021 | ~30x40cm | £450

100% waste: 89 fruit nets on a discarded wooden panel.

2020 | 50x50x6cm | £950 | SOLD

100% crisp and popcorn packets from Adobe's 'trashure', first piece for their Art for Trash project. The trickiest material used so far. Loved the challenge

2018 | 44x54cm | £750 | SOLD

100% waste: reused corks and Actimel bottles on wooden board.

More plastic! Call Synthetic Pest Control

2018 | 40x81cm | £600 | SOLD

100% waste (including the boards): plastic, metal, paint and cement on wooden boards.

For if angels existed, they'd have to be made of plastic

2024 | 4 panels, 46×46cm each | £2000 | SOLD

100% waste: about 70 coffee pods per item, could be sold individually too as (clockwise from bottom right): Focus (on Purple), Focus (on Orange), Focus (on Green) and Focus (on Bronze).

2024 | 51x51cm | £950 | SOLD

100% waste, namely 90 used coffee pods, acorn cupules (from Central Park 2018) and eco-friendly cement on wooden board.

Showing off these beauties, making them look as precious and desirable as can be to give them as much value as possible: from waste to wonder.

2024 | 51x51cm | £850

100% waste: used Nescafe' pods and acorn cupules.

2023 | 51x51cm | £950 | SOLD

100% waste: 281 used hairdresser foils to be exact.

Commission for a City office of a global financial services firm. Part of a quadrant, 4/4

2022 | 50x50cm | £850 | SOLD

100% waste: about 200 used hairdressser’s foils kindly donated by Salon Sustainability .

Used as marketing material for Salon Sustainility’s recycling initiatives.

2022 | 120x100cm | £3600 | SOLD

100% waste.
Because if I have learnt anything thus far is that life thrives in its many differences, not in its homogeneity. One eco-system, whose future depends on its variety. So for flora, same for fauna...mankind included, not aside nor above

2022 | 92x122cm | £3800 | SOLD

100% waste: about 2000 metal screw caps and just as many ring pulls.

6 months of slow but steady collection. Commission for the main lobby of a global financial services firm in NYC

2021 | 105x80 cm | £2500

100% waste. Thousands of used metal caps and ring pulls, and look at all that trashure showing off!

On permanent display at the London Mindsports Centre, 21 Dalling Rd, London W6 0JD

2021 | 92x83cm | £1250

100% waste: thousands of used screw caps and ring pulls.

First piece after Lockdown. Going with the flow and geared towards exhibiting again. A feast of colours, from a black hole through all hues and toward the light outside, to visualise a joyful awakening and rebirth.

On permanent display at the London Mindsports Centre, 21 Dalling Rd, London W6 0JD

2020 | 50x80cm | £750

100% waste: 180 discarded cans.

Light flowing through the root cells, highlighting the underground liveliness of the mychorrizal network

2021 | 50x76cm | £950

100% waste: 221 cans.

Family portrait: yes, we are a family of tree huggers and worshippers

2020 | 52x52x10cm | £750

100% metal waste: over a year's stack of metal caps and pulls.

So much potential, and not even the time to enjoy it. Screw, unscrew, throw

2017 | 100cm each | NFS

100% waste. A white wall driving me mad. Made with whatever was available on that day in our recycling bin, the neighbour’s old PVC tablecloth and some leftover decoupage paper.

2019 | 50x50cm | £950 | SOLD

100% office waste. 1st of 4 pieces, collectively making "A Monument to Seasons" .

First of my ArtWORKivism initiative "Art for Trash": turning Bluefield Partners' waste into artwork for their office.

2019 | 50x50cm | £950 | SOLD

100% office waste. 3rd of 4 pieces, collectively making "A Monument to Seasons".

First of my ArtWORKivism initiative "Art for Trash": turning Bluefield Partners' waste into artwork for their office

2019 | 50x50cm | £950 | SOLD

100% office waste. 2nd of 4 pieces, collectively making "A Monument to Seasons".

First of my ArtWORKivism initiative "Art for Trash": turning Bluefield Partners' waste into artwork for their office.

2019 | 50x50cm | £950 | SOLD

100% office rubbish. Last of 4 pieces, collectively making "A Monument to Seasons".

First of my ArtWORKivism initiative "Art for Trash": turning Bluefield Partners' waste into artwork for their office

2020 | 50x50cm | £950 | SOLD

3rd piece of my Art for Trash project with Adobe. 100% Adobe’s waste: 100% teabag (and a biscuit) wraps (200).

2023 | 50x50cm x 4 | £3800 | SOLD

100% waste: 38 used Metro, Evening Standard and City A M. papers.

Commission for a global financial services firm in the City

2023 | 200x75cm | £3000 | SOLD

Art for Trash commission made 100% with the clients' waste, namely their used papers and magazines.

Featuring a view of mount Etna from Catania in May: orange and prickly pear blossoms, agaves and touches of broom, some snow on its top and light smoke between the clouds, warming up and melting the snow on the North side of this stunning black marvel. Sicilians proudly state that Etna is a female volcano, as it is unpredictable on where it will erupt next.

2024 | 61x61cm | £850 | SOLD

100% waste: used newspapers and magazines (leftovers from a previous commission). To display any direction you wish - no up, no down, just full of possibilities.

This is a piece of personal therapy to regain self-confidence, and a cry to all sister souls out there to persevere in the belief that it is beyond the red tape of conventional structures that true expression and meaningful evolution bleed out and expand. Personally I might need a few more therapy sessions (the tear runs deep 😂) but I still believe! Can you relate?!?

2024 | 51x51cm | £450

100% waste: used magazines, hairdresser's foils, coffee pods.

There's conventional beauty in waste.

2019 | 41x51x6cm | | £850

Screws, fruit nets, filati and marble on wooden board. Built on pieces of a jigsaw puzzle (missing one piece). Can you put them back together?

Reference to layers of artificial creations suffocating our planet. If we have the intellectual capacity to analyse and deconstruct abstract concepts, should we not be intellectually capable enough to understand the need to deconstruct structurally as well?

2020 | 50x50x5cm | £950 | SOLD

100% waste: over a year's worth of Abel and Cole box strings, leftover screws, nuts, washers and nails.

Whirls, swirls and twirls…Can't you see there's wonder in waste?

2021 | 50x50cm | £1000 | SOLD

100% waste: over 400 strings from Abel and Cole food boxes, equivalent to 9+ months of deliveries.

Commission: 2nd piece of 2.

2017 | 30x30cm | £450

100% waste: fabric leftovers and hubby's old shirts on wood.

Your old shirts in a new pattern, trying to be as logic as you are. You are the Hence, and I am the But. You are the lines and I am the dots. You think and I feel, you feel and I do. I say…a world can really be made by two.

2018

Innocence carrying the burden of our disposable living.

Inset: 112. "Forever", 2018 (1/2). 100% waste: plastic, metal, paint and cement on wooden board (40x81cm). For if angels existed, they'd have to be made of plastic

2018

Staged Photography (layered artwork). 3rd layer of work (30.5x40.5).

Holding 2. Inheritance: innocence carrying the burden of our disposable living.

Carrying 1. "Forever", 2018 (1/2). 100% waste: plastic, metal, paint and cement on wooden board (40x81cm). For if angels existed, they'd have to be made of plastic

2018

Staged Photography (layered artwork) (30.5x40.5). 4th layer. Inset, progressively:

"Empathy", 2018. Staged Photography (layered artwork). 3rd layer of work (30.5x40.5).

Holding 2. "Inheritance": innocence carrying the burden of our disposable living.

Carrying 1. "Forever", 2018 (1/2). 100% waste: plastic, metal, paint and cement on wooden board (40x81cm). For if angels existed, they'd have to be made of plastic

2018

Staged Photography (layered artwork). Revolving around the upcoming London International Gallery of Children's Art - LIGCA project on air pollution "A Breath of Fresh Air" with schools in London and Delhi.

Boogieman scattered with pollution dust (on fresh cement) collected from my window sill after 6 months of exposure to street traffic

2017

Staged Photography (20x25).

Growing up as an atheist in a heavily permeated Catholic country such as Italy, in my early years I suffered tremendously from prejudice.

This piece is about one of the aspects I had to fight both as an atheist and as a woman: it deals with the fundamental issues of respect, nature, freedom and equality for a woman in progress.

Sexual awareness might just be one way to avoid that constructed feeling of guilt and shame for which you would invariably deserve to fall into the pit of Hell.

Highly Commended at the S/He Exhibition, AIR Gallery, Manchester, 2018

2017

What do you see...security? Captivity? Lust? Despair?

1st place, All Photography and Digital Media Exhibition, Contempoary Art Gallery Online, 2018

2017

Weighting a partial amount of laughing gas cans collected on the streets of Notting Hill after the Carnival, in London. Is so much weight needed to make us feel lighter?

2017

Matter is fascinating. Comparing masses with different weight/space specs during my Canary Wharf New District residency.

The weight carried by the builders for hours in a row, and the lighness of the cuppa they hold for a few minutes, with their hand sometimes shaking in comparison.

2017

Staged Photography (layered artwork).

Revolving around the upcoming colla with LIGCA on air pollution "A Breath of Fresh Air" with schools in London and Delhi.

Boogieman scattered with pollution dust (on fresh cement) collected from my window sill after 6 months of exposure to street traffic.

2018

Revolving around the collaboration with LIGCA on a project on air pollution “A Breath of Fresh Air” with schools in London and Delhi.

Background painted with with pollution dust (mixed in PVA) collected from my window sill after 6 months of exposure to street traffic.

2018

Countdown: 12 years to save the Earth. Our Christmas Card for 2018

2018

Layered artwork: "The Essentials: No1" (2018, Marble and smalti on breathing mask, 14x15x6cm) in staged photography.

First of a new series, this piece is inspired by the ongoing LIGCA project on air pollution "A Breath of Fresh Air" with schools in London and Delhi . Dealing with the problem of air pollution.

A breathing mask set in stone as what will soon become an essential item of everyday life, to show how serious and imminent the issue is becoming, which connects all living creatures in our ecosystem.

2018

Layered artwork: "The Essentials: No1" (2018, Marble and smalti on breathing mask, 14x15x6cm) in staged photography.

First of a new series, this piece is inspired by the ongoing LIGCA project on air pollution "A Breath of Fresh Air" with schools in London and Delhi . Dealing with the problem of air pollution.

A breathing mask set in stone as what will soon become an essential item of everyday life, to show how serious and imminent the issue is becoming, which connects all living creatures in our ecosystem.