I work in Performance Art, Mixed Media Art, Theater (comedy, tragicomic, dramatic), Musicals, Singing, Photography, Music, Poetry, Writing, Show Hosting and Entertainment. I'm also experiencing ventriloquy. I am a multifaceted performer, author, actress, singer, musician, writer, photographer, and videomaker. I love improvisation and experimenting with synesthesia between various aesthetic languages.

My artistic journey involving the selfie began with early photos of my shadow, moving on to images of reflections—and then to those that go beyond reflections, beyond the glass, and beyond dimensions.

In this sense, the evolutions of my  artworks “SelfieMorfosi” represent a transformation in the use of the selfie: shifting from a medium of mass communication and representation—aimed at appearing to conform to recognized social standards and status, driven by the politics of likes, followers, and algorithms—to a tool for knowledge, exploration, and inner awareness.

The evolutions of “SelfieMorfosi” offer a new communication tool, a new mode of perceiving and representing uniqueness within multiplicity, continuity within change, and identity within otherness.

I experienced the utility of taking selfies and videos of myself, as effective tools for study and research, while developing and staging the theatrical characters to enhance the expressive impact of the subtext. By analyzing video recordings of facial expressions, verbal and non-verbal communication, spatial interaction, rhythm, and dynamics, I was able to refine my expressive techniques in utilizing emotional memory to foster the character's authenticity. Camera-based rehearsals effectively complemented mirror-based rehearsals.

The selfie with my shadows, which remains a selfie nonetheless, becomes a symbolic instrument of inner self-knowledge, a means of acknowledging and focusing on those shadowy aspects of myself that reveal themselves with full force. These shadows become tools for transformation and inner rebirth, transcending time and space through multidimensional journeys.

My message is: you are the work of art!

Within this dialectic, even blurriness, distortion, chance occurrences, imperfection, and ugliness acquire symbolic semantic significance, acting beyond socially and culturally recognized norms, and represent the apotheosis of multidimensionality, otherness, zones of shadow, reflections, and those intimate, interior, individual, and synergistically collective "non-spaces" and "non-times."

In “Dancing Rocks,” my shadows—cast against Paleozoic rock faces and illuminated by the setting sun—become frames in a dance of liberation, transcending the opaque boundaries we impose upon ourselves. By playing with our shadows—metaphors for our own dark sides—we manage to cross boundaries that unexpectedly transform: walls and impassable rocks, rendered formidable by our fears and projections, shift into luminous streams of escape. This is seen in the work “Escape,” where flight becomes the discovery of a new, centering dimension—an escape that keeps me anchored to the purest, deepest part of myself. Impassable walls turn into radiant shadows that illuminate and bring a playful, dancing spirit to journeys of rebirth and the discovery of countless ways to live fully—moving beyond the painful, unsettling, agonizing, and violent forms of mere survival depicted in the work “I will survive.” It is a journey toward the freedom to shine triumphantly, consciously holding the luminous egg of my life, as portrayed in the work “Freedom.” This egg is both fragile and powerful: born of the solidity of the Paleozoic rocks and the fluidity and lightness of my own shadows. The details, geometries, colors, sounds, and multidimensional dances created by my shadow as it traverses the rock faces evoke new sensations—creating luminous crevices to explore and magical doorways to pass through. The selfie thus becomes a cathartic tool suspended between the real and the surreal, the physical and the metaphysical, crisis and its resolution, identity and otherness, the individual and the collective, and across diverse creative and aesthetic languages: photography, painting, sculpture, dance, music, and poetry. Photographs of my shadows become dancing sculptures, silent music, musical silences, metaphysical, multidimensional, and synesthetic journeys traversing “the beyond” beyond suspended spaces and times, before the archaic era and beyond the cyber-alien age.

I started playing piano when I was 8 years old. I began writing songs and poems when I was 11 years old,  exploring the liberating power of musical and artistic expression. Using costumes, sets, and poses, when I was 12 years old I asked to be photographed to look at me beyond my imagination.

My curiosity and inner need to experience new forms of knowledge and expression, manifested itself from an early age, not only through musical exploration but also through the body language, as I attended artistic gymnastics classes for four years. I especially enjoyed improvisation exercises, when I could express myself freely and invent choreography. In my free time, I devoted myself to composing poetry and music, singing, photographing, and studying the piano.

During summer holidays in the countryside with my grandparents, I enjoyed inventing imaginative games and stories to act out, involving my childhood friends as actors and actresses. I was fascinated by materials and I invented an instrument that played with rusty nails driven into a Styrofoam box.

In school I excelled in the humanities and arts. When I read my essays in middle school, the whole class listened enchantedly to my philosophical and existential disquisitions. In science, I remember running chemistry experiments in class using all the equipment from my parents' lab. I really liked the colors, the geometries of the ampoules and the changes in the reactions.

The first time I went into my parents' chemical laboratory, I was fascinated by the photocopier, which I had never seen before. So I used all the office supplies available to create geometric compositions, which I photocopied onto large sheets of paper, which I then joined together to create new shapes to photocopy, assemble, and color.

I also did well in science subjects, but I favored the others, and I won a scholarship so I could continue studying and enroll in the new high school science course that the school was starting for the first time.

Between middle school and the early years of high school, I lived through my dark, gothic and bohemian period. I had set up disrupted installations in my room with candles, soft lights, cobwebs made of nylon threads of torn stockings, snakes and rubber bats, dry branches and a life-size doll lying on the bed, completely covered in veils.

I photographed decaying carcasses and cracks in the walls, and I always carried with me a talismanic ring in the shape of a red and black dragon, which I spoke to and fed during meals with the aromas of the dishes.

Despite the scholarship, after two years, I decided to change schools and try public school.

I graduated from high school in 1992 with a scientific high school diploma. 

Since 1993, while attending the degree course in Chemistry and then the one in Demo-Ethno-Anthropology Literature, I played in a reggae band, performing as a singer-songwriter, keyboardist and backing vocalist. In that period we set up a clay laboratory complete with oven, slips and enamels. I created small sculptures and even a play ocarina.

During those years, I also remember the parties for the moon,  playing djembe, dancing and singing.

In 1995, I began studying and experimenting with theater (Stanislavsky method), diction, opera singing, and jazz singing. I have participated as actress, host, and singer in various theatrical productions, musicals and entertainment shows.

In 2002 I obtained a degree in Literature, Demo-Ethno-Anthropology, at the La Sapienza University of Rome, with a final grade of 110 cum laude with my thesis: "At school with the Griots: Senegalese migrants and intercultural encounters ". In those years I attended the dance course with Sunu Africa, a family of griots from the National Ballet of Senegal, a successful musical group. My thesis was inspired by intercultural encounters through the language of dance and percussion, for an "anthropology of encounter" focused on themes such as identity and change, body and performance, and the dialectic between identity and otherness.

Through the relationality and versatility of socially recognized and shared bodily techniques of performance, imposed cultural boundaries are transcended to reflect on the opacity of the "self" and the "other." This transversal, multidisciplinary approach sees the union of art and science, body and mind, individual and collective, continuity and change. Performance and the shared recognition of our multiple expressive and artistic capabilities thus become a social tool for knowledge and inclusion, a bridge that crosses the boundaries and limits of the coercive separations imposed by Western culture, stimulating the renewal of the individual and the collective.

From 2007 to 2014 I was a backing vocalist and keyboardist in Bloomy Roots, an all-female reggae band founded in 2004 with participation in various concerts and collaborations in Italian and international reggae contests (2007 Villaggio Globale in Rome opening for Black Uhruru's live, 2009 opening concert for Mr Derrick Morgan, 2010 collaboration with the first DJ in the history of reggae Sister Nancy with the creation of the song entitled Me a cute, 2010 third place in the national competition MArteLive. Collaborations with artists such as Radici nel Cemento, Roots in the sky, Villa Ada, Tribù Acustica).

In 2010, I attended reggaeton courses at the Duende della Danza school, as well as reggae-dancehall evenings during concerts with Bloomy Roots and trips to Jamaica.

Since 2014, I have experimented with writing and performing original comic, tragicomic, and dramatic monologues, as an author, actress, and director. I experiment with Mixed Media Art performances, synergistically and transversally involving the influences of interior and dream language with the languages ​​of the body, stage, theater, music, and photography.

In June 2023, I participated in Zelig Open Mic – Areazelig Theater, Milan, and then moved on to the online voting process.

In March 2024, I attended the Acting Workshop directed by Flavia Poerio.

October 2025: I have participated in Rome Art Week with my performance "Fluttuando" (Floating) that I have conceived, directed, and performed. It was a dreamlike narrative journey exploring the space between dream and reality, identity and otherness, and the contrast between imposed, frenetic time and intimate, timeless moments. The performance highlighted themes of inner exploration and both individual and collective liberation through theater, poetry and music, featuring collective musical improvisations and audience participation in my interactive installation-game of the same name (a play on words combining "floating" with "flute" (specifically, a broken flute). "You are the work of art!" This was the message of the final segment of the collective performance-game, where the selfie became a ritual of inner beauty, evoking creativity and rebirth—much like the eight fragments of the broken flute regenerating into infinite, surprising combinations (8=∞=infinity). I have participated with my artworks "Selfie-Morfosi" (Selfie-Morphosis) as part of the group exhibition at Craving Art Gallery during Rome Art Week 2025, titled "Art is Addictive (and We Don't Want a Cure)."

 January 2026: Musical performance at Craving Art Gallery.

 March 2026: Selected and auditioned as an actress with an original monologue, "Delirio Vermiglio" (Vermilion Delirium), for the second phase of "The Trauma Show".

 March 2026: I have participated in the group exhibition "Smania d'arte" at Craving Art Gallery, including the final performance.

July 2026: I have participated in the group exhibition "Vicinanze" (Proximities), organized by Fag Arti Visive & Craving Art Gallery at Palazzo Velli Expo, Rome.