Why do you make art?
Art has always been my way of connecting the rational world of engineering with the emotional realm of expression. I make art to escape the structured, digital environment of my profession and to reconnect with something analog, fluid, unpredictable, and profoundly human. Watercolor, especially, continues to surprise me—it’s a dialogue between intention and spontaneity that never ceases to amaze.

How long have you been painting?
I’ve been painting since high school, starting in the mid-1990s with graffiti writing and aerosol art in Padua. Over the decades, I’ve explored many mediums, but watercolor truly captivated me and became my main focus from the moment I discovered it. I’m addicted to watercolor.

Did you have formal art training?
While I began as a self-taught artist, I later attended courses in pencil, acrylic, and oil techniques. My formal journey deepened when I encountered watercolor and sought structured learning through workshops, eventually leading me to teach it myself.

Are you a working artist or a hobbyist?
I am a working artist—my second profession. I teach watercolor through the Onda Creativa association, which I co-founded in 2019 with three other artists. I hold regular online and in-person classes and participate actively in exhibitions, competitions, and festivals.

Who and/or what do you look to for inspiration?
I draw inspiration from everyday life—figures, interiors, and landscapes that evoke mood and light. I also love to watch old restored videos from the early 1900s to find subjects from the past. Artistically, I’m influenced by a unique blend of English/American and Japanese masters and mangakas of figurative simplification, whose ability to capture essence with minimal strokes resonates deeply with me. Some names, above all, are Edward Seago, John Yardley, Charles Reid, Hirohiko Araki, and, of course, Hayao Miyazaki.

What kind of music do you listen to while painting?
When painting, I often prefer Old School Hip Hop or Japanese pop from the 1990s.

Have you had a mentor?
Rather than a single mentor, I’ve been shaped by a community of passionate artists and masters I’ve met through Onda Creativa and international events. Their dedication and generosity have taught me as much as any formal education could.

Do you paint every day?
Yes. I must paint or sketch every day, even if only for a short time with some color swatches. At night, after putting my children to bed, it’s a daily ritual that keeps my hand trained and my creative energy flowing.

Do you paint one piece at a time or work on several at the same time?
Typically, I focus on one piece at a time to fully immerse myself in its atmosphere and story.

Do you create a concept piece first?
I usually start with a loose idea or mood, sometimes with a quick sketch or value study, but I leave room for spontaneity. Watercolor rewards openness to the unexpected.

Do you prefer painting in studio or plein air?
Both have their charm. Studio work allows for deep focus and controlled conditions, while plein air painting sharpens observation and captures the soul of a place, surrounded by happiness and friendship when with other artists. I value the balance.

How many core colors do you use?
I work with a carefully chosen palette of 10 to 12 core colors that give me a wide range while maintaining harmony. I use both transparent pigments and opaque ones.

Tubes, pans, or sticks?
Primarily pans and tubes. Pans are perfect for travel and plein air work; tubes are convenient in the studio when I need to prepare richer washes quickly.

Do you use masking fluid?
Usually not, but I think it’s a technique worth teaching in my lessons. In my paintings I prefer to reserve whites by painting around them. It’s complex, but at this moment I feel it’s my favorite way of preserving whites.

When do you know that your piece is finished?
It’s a subtle moment—usually when I feel the painting has said what it needed to say. If I reach for the brush again without a clear reason, I know it’s time to stop.