Capturing the
unseen emotion
From Lake Iseo to Milan, self-taught. No academy, no ready-made formula — only the necessity of understanding what hides behind a face when it stops defending itself.
Since 2010, working in commercial photography: fashion, beauty, portraiture, advertising campaigns. Every project is born and completed under the same hand — from concept to post-production. A coherent image cannot be delegated. Over the years, alongside practice came the transmission of the craft: workshops, masterclasses, portrait labs and training programmes built around short journeys, where territory becomes a tool for learning to see differently.
His work has been published in international magazines including LUI, Dark Beauty, Beauty Scene, Flic, Vatra, Glassbook, Anormal, Rough Italy, Mint and Ellements. He has collaborated with modelling agencies in Milan — IMG, Major, Women, D'management, WhyNot, Next — in Paris — Elite, Metropolitan, City — and in London and Los Angeles, where he worked for extended periods. He is represented by Lucia Micocci in Milan and by Le Baccanti.
A camera is not a mirror. It is a means of dialogue — with the subject, with the viewer, with oneself. The portrait is the centre of gravity of everything. Little Talks, his first personal exhibition project, is its root: from there grew (stra)ordinari, presented at Segni Festival Fotografia in 2021 — portraits made without searching or planning, offered and received, in that fragile zone where a person stops posing and begins to exist.
In 2017 he set out for Iceland with the project Vegur, presented at Segni Festival in 2019. Vegur, in Icelandic, means road. Not the destination — the road. Lines that cut through boundless spaces, slicing lava and ice and silence into fragments that the eye slowly reassembles. A country told through what crosses it.
But no studio holds a gaze that has learned to move. Today the gaze is turned toward Asia — the less obvious one, found only if you know where not to look. Sri Lanka as an island that keeps itself: the dense light of tea plantations, morning rituals in temples where incense rises alongside silence, the feeling of having arrived somewhere that tourism has grazed without ever truly penetrating. Northern Vietnam, where roads climb between terraced rice fields and ethnic minority villages seem suspended in a time the lens always risks profaning — and yet, sometimes, manages to honour. And then India, which cannot be explained or reduced: chaos as a form of order, a light that burns and blesses in the same instant, faces that carry everything — fatigue, faith, irony — without hiding. Places where photographing does not mean documenting, but being present.