26 version to an “official” catalogue in which I explained what had led me in that direction. I also talked about my experience of working in the field of communication, when I was stuck in a room listening to music and, at the same time, on the monitors, I had three or four in front of me, checking the launches of the press agencies. I must admit that this job also allowed me to travel a lot, to learn how to organise the different phases of a project and more: in that context, I had the opportunity to meet my husband Stefano, the love of my life, who allowed me to dedicate myself to art and with whom I had two fabulous children, Marco and Sofia. A reason for which I will always be grateful to life. I also had the pleasure of having as my boss Luigi Torre, father of Mattia Torre, whom I met when he was very young and to whom I remained linked by a deep friendship until his premature death. From a painting point of view, what was your approach to the study of technique? In the beginning, I wanted to dedicate myself to Flemish painting technique and to that of the Macchiaioli. They said I was good at reproducing reality, and even an antique painting, for me it was like doing maths. Of course, I took great pleasure in painting seascapes, landscapes... I felt that this state appeased my eternal restlessness, but it wasn’t what I was looking for. When I finally decided to leave my job in communication and dedicated myself exclusively to art, going to the studio every day did not change my habits. I went about my day like any other profession, but I was finally happy to paint full time. At the same time, this freedom also allowed me, as I had a family, to be available for my children when necessary. It was precisely the family that helped me to have that contact with reality that I could have lost if I had always stayed in the studio. How has your technique evolved over time? Initially, I concentrate on painting, but then I distanced myself from the academic approach, experimenting with other techniques such as photography, but always reworked on the computer and contaminated with painting and video art, which accompanied each project. After a series of projects, including D.I.O. Determine Illumination and Darkness (2007), in which I compared the presence/absence of positive and negative symbolism, Urban Aspirations (2013), Here and Now (2014) and Butterfly Effect (2014), I felt agian the need to “get my hands dirty”. I used colours, later combining them with resins and other materials, to recreate what I had been able to visually process with photography. But I felt I had to go beyond. In the meantime, I attended
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