Circé began creating from a young age, but it was over the past few years in Mexico that she solidified her artistic identity, establishing a studio in Mexico City to work more methodically and consistently. Following her first solo exhibition at Madre Café in May 2021—which brought her visibility—she started gaining recognition within the city’s art scene, participating in live drawing sessions and workshops with other emerging artists, as well as several large-scale live paintings, including two murals for Casa-No Arte Gallery in the following years.

After taking part in a group show during Mexico City Art Week in February 2022, Circé traveled to Havana to attend courses and workshops at the Instituto de Bellas Artes de San Alejandro and the Instituto Superior de Artes (ISA). These experiences provided her with a stronger academic and theoretical foundation, allowing her to deepen her contemporary art practice and engage with several Cuban artists and masters.
During this period, the first research of Fosse commune became part of the permanent collection of the Instituto de Bellas Artes de San Alejandro and was exhibited in the show celebrating the Institute’s 60th anniversary.
Subsequently, she presented the works resulting from this phase at the artistic residence of Casa Omega in Coyoacán, Mexico, in a show that brought together her Cuban works alongside those of Dionnys Matos.

In January 2024, she participated in Mexico City Art Week with a large-scale painting and sculptural installation, and in March 2024, she returned to her hometown, Rome, where she opened a new studio. She reintroduced herself to the Roman art scene with a 24-hour live painting performance on a 30m² surface at Spazio Ventre (May 2024), drawing inspiration from classical and sacred iconography.
She later took part in the 2024 and 2025 editions of Rome Art Week with an open studio, and in 2025 exhibited in the show Une Femme est Une Femme, curated by Anna Kessler de Pretis for the fourth anniversary of DB+K (Dal Bosco + Kessler), in dialogue with Beatrice Alici. On this occasion, she presented Salotto Erotico, a site specific installation of seven headless and hollow human-size figures that suspend the body between presence and absence. Conceived as a reflection on the body and its performativity, the work addresses themes of self-construction, loss of identity, and the relationship with the other.

Her practice investigates the interrelation between personal and collective identities and the power structures inscribed on the body, understood as a space where memory is stored and social meaning is constructed. She primarily works through painting and drawing, but also employs silkscreen printing and sculpture.
Her live painting performances, refined over the years, have become a central component of her artistic vocabulary.