When I was little, my brother and I had a very common encyclopedia. One of its volumes contained poems and nursery rhymes.
I still have that book; I read it to my children when they were boys, and now I’ve decided to start a project based on one of its doggerel.

The choice was easy: I loved this nursery rhyme and I still love it: there are seven black crows—I mean black, really black—on the pear tree in the Gualtieros’ garden.

I started by designing the book’s shape. I made a prototype to understand how to fold each part and how to adjust the dimensions. Then I outlined a tree, chose the images of the crows, engraved them and put them in a right position.

At a later time I sketched two different trees, one on each side, and chose the position of the crows and how to draw them.

Then I carved all the parts, added the pears and prepared the prints for the book’s box. It took a long time and a lot of work.

Printing was also difficult because I had never used a multi-color technique before. So it took me a few tries before I got acceptable outcome. None of the prints is perfect, but I think I got a good final result.

I also printed out some sheets to cover the book boxes.

The last thing to do was to cut out each book and glue crows and pears on them.

To add the nursery rhyme to the book, I asked a 3D lab to create some stencils.

Finally the book is finished!

I printed the first two in both black and white and color versions.

Not the explosion of punches, but the pauses between them.

A small photoset about the silent impact between two amateur boxers.

They are small paintings or tiny objects, often made of silver, in the most varied shapes: they can be images of legs, eyes, hands, children, but most commonly hearts.

As usual I started to engrave them by suggestion.

ex voto 1

ex voto 2

I combined the study of the shapes and shadows of the “heart objects” with the analysis of the brocade canvases.

ex voto 3

ex voto 4

The ones above are all linocuts.
I also made the second heart in drypoint for comparison.

After small glass objects it’s time to test the result with a larger one.

Over 150 visitors joined us across two days, stepping into our creative space to explore a curated journey through our recent works in visual art, interior design, and narrative environments.

The exhibition featured linocut prints, design projects, and a preview of our new illustrated catalogue, Il Giardino delle Iris — a small walk through an imaginary garden blending the real with the surreal.

We also prepared a curated selection of engravings and a showcase of our latest visual and spatial design works.

We spent two intense and engaging days with many people who came to see our works and visited our space on Saturday 24th May and Sunday 25th.

We aslo prepared some gadgets and a catalogue of the exhibition

The catalogue was conceived as an illustrated book that invites the reader on a brief journey through a small enchanted garden that is both real and imagined.

We arranged the linocut prints as if guiding the reader along this imaginary path, enhancing the experience with short phrases that accompany and orient the “visitor” through the space we envisioned.

The project began with a rough prototype, which we continuously refined and restructured until it evolved into its final form.

The cover also had various versions until the final one.

For printing we chose a recycled paper Freelife Fedrigoni and we did the binding by hand.

Mezzotint is a very difficult direct technique: it requires great skill, enormous sensitivity and also infinite patience. Only when all these elements are present can good results be obtained.

To make a mezzotint engraving it is necessary to prepare the metal plate with a process of roughening.

The metal plate (preferably copper) is worked with a berceaux to obtain a surface that holds the ink evenly. Where the print needs to have white or grey areas, the engraver will smooth the surface.

Although I have never made a mezzotint, I know people who do. So I involved my husband in the creation of a tool that would make the work of graniture easier and faster.

The prototype was created for a berceaux by Miroballi, a company producing artisanal fine art objects in Rome.

A type of this instrument had already been made, but Francesco had the idea of ​​adding an angle adjustment system.

Adding weights make the jig ready to work.

We asked Lucia Piu, one of the engravers at the Trastevere laboratory expert in mezzotint, to test the tool: it passed her exam!

Here is a detail of one of her works created with this technique.

We have just made a new bigger jig. It fits Lyons berceaux perfectly.

The idea was to create a book that, when opened, would transform into a fishbowl, with a goldfish swimming inside. So I created a net of transparent threads to hang the fish in different positions.

This is not a silent book; I have included on it a little explanation of its meaning.

I made a short stop motion film about this topic. It is an ambitious project in which Francesco and Pietro Maiorca helped me.

The title Ferite in Italian carries a dual meaning. As a noun, it refers to wounds—physical or emotional. As a past participle, it evokes women who have suffered an affront, a rupture in the fabric of their lives. These wounds—whether from the loss of a lover, a child, a home, a community, childhood, dignity, or the future—remain hidden yet inflict a silent, devastating pain. To be acknowledged, they require deep listening, a shared understanding between allied souls.

This book presents portraits of six women: mothers who have lost their children, child brides robbed of their youth, and women from marginalized ethnic groups, trapped in lives of segregation with no escape. Each portrait is created using linoleum prints on old, stained fabric, then sewn onto another piece of cloth with white, red, and black thread. The tearing and fraying of the fabric symbolize their suffering.

Finally, I rolled the strip of cloth like a bandage, sealing it with a ribbon that bears a brief explanation of its contents.

As is tradition with my books, a short stop-motion film will accompany it.

Our task: to create several demo environments for their product catalog.

Same about wallbed:

Working on concepts of:

At Ubiquity, we had to elaborate on a spatial concept that focused on capturing the brand’s essence by developing a distinctive look and feel.

We want our Wallbed environments to be:

This image well stands for what we mean by a warmth technicality.

Here, a more daring space for a dynamic and adventurous lifestyle.

Bedroom mode on.

Fresh and bold with great linearity

A high-end versatile office

Wallbed also creates storage units and desks.

Details are shown clearly by an accurate 3D model.