About

Bio

Italian-British artist born in Milan. Trained at the Accademia di Belle Arti di Brera, with further studies in the UK and China. Currently lives and works between New York, Bali, Brazil, and Europe.

Artist Statement

My practice exists at the threshold between the seen and the unseen — where the physical world meets the metaphysical, and where material form carries spiritual weight.

I work with words and visual designs drawn from ancestral sources: tribal patterns, symbols from ancient civilisations, and visual languages that predate the modern world. These are not decorative choices. They are channels — ways of accessing knowledge systems that indigenous communities and traditional cultures have carried across millennia through ritual, mark-making, and oral tradition.

Living across continents — from the ceremonies of Bali to the energy of New York, from the indigenous traditions of Brazil to the deep roots of Europe — I experience firsthand how ancient knowledge persists beneath the surface of contemporary life. My work tries to make that persistence visible. It asks the viewer to slow down, to look past the surface of a form or a word, and to recognise that what we call “the spiritual” is not separate from daily existence but woven through it.

I am drawn to communities and cultures that have maintained their connection to this understanding, and my practice is, at its core, an act of attention — a commitment to honouring what has been known for thousands of years and to carrying those frequencies forward through contemporary art.

Only Sattva

The name Only Sattva comes from my belief that the spiritual world is primary, and that it must be nourished through attention and practice. In ancient Vedic tradition, sattva is one of the three fundamental qualities of nature, associated with clarity, harmony, balance, and light. It is the quality associated with meditation, lucidity, and inner integration.

In the words attributed to Maharishi Mahesh Yogi: “Only sattva is successful. Don’t look around to see the situation.” For me, this means that the deepest source of form is not outer circumstance, but inner coherence. I practice the Siddhi program as a devotion to cultivating this state, and my art practice becomes a bridge between that inner condition and visible form.