“La terra di sotto" (the land beneath) is a project that investigates some of the most severe cases of pollution in Northern Italy, tracing a journey from Turin to Venice, through Milan, Brescia, Verona, Vicenza, and other cities and provinces.

Between industrial contamination, landfills, and the pervasive presence of organized crime, the book weaves together photography, investigative journalism, cartography, and academic research to offer an unprecedented reading of the landscape of Italy’s “productive North.”

What I did: art direction, graphic design, maps and infographics (in collaboration with cartographer Massimo Cingotti).

Tresca is a social enterprise that designs and produces events connecting different worlds, disciplines, and communities, while promoting more sustainable forms of entertainment and tourism.

Founded in 2021, it is based in Costa Vescovato (AL), a small rural town in the Tortona Hills, where for the past three years it has been running the municipal camping, La Campeggia, with a program of music events, cultural festivals, and moments of exchange for both travelers and the local community.

What I did: identity and positioning, graphic design, website, signage, photography.

Milano Design Film Festival is a cultural platform that uses cinema to bring audiences closer to current topics in design and architecture.

Every year, the festival presents a curated selection of films by designers, directors, and artists, highlighting innovative trends and exploring practices and research in areas such as consumption, care, social organization, information, and future industries.

What I did: rebranding and graphic design, art direction of the digital streaming platform, project management.

Editorial spin-off of the project “La terra di sotto":  a free 28-page A3 magazine, unbound. Thanks to a simple display system—placing two copies side by side—the magazine transforms into an exhibition of photographs and texts that guide the audience through the themes of the book.

This accessible format allows anyone to set up the exhibition at minimal cost. The free press has been distributed in schools, bookstores, and associations, and presented as a traveling exhibition in various venues, sometimes accompanied by enlarged prints of the maps and infographics from the original project.

My role: art direction and graphic design.

I support creative studios, associations, and artists, assisting them in developing online communication tools that align with their goals and visual language.

What I do: site structure and navigation design, tone of voice and content selection, graphic design, web design, WordPress setup, or overseeing production with a web developer.

Cult Keys is a training program for cultural and music organizations aimed at developing skills in grant writing and fundraising, combining online courses with in-person workshops.

What I did: visual identity and graphic design.

Photographic and narrative research on the Gothic Line and the Resistance in a valley of the Tuscan-Emilian Apennines.

Through landscapes, ruins, war relics, and archives, the project weaves together images, text, and a map of hiking routes, reconstructing the historical memory of the area. The book invites readers to walk through these places, observe the traces of the past, and engage with their legacy in the present.

What I did: book and map graphic design (in collaboration with cartographer Massimo Cingotti).

During the 2020 Milan lockdown, two documentary photographers explored the city using multi-spectrum light, normally employed by forensic police, revealing what the human eye cannot perceive: the biological traces we leave around us. Familiar, everyday places are transformed into a suspicious and unsettling landscape, reflecting the perception of danger during the pandemic.

The photographic editing was designed to create a noir-like narrative, where spatial and temporal coordinates are blurred.

What I did: editing and sequencing, graphic design, art direction, and production.

A book born from a remote photography workshop. The title stems from the refusal of Israeli authorities to grant access to Gaza to two Italian photographers, who therefore conducted the workshop by communicating with participants via Facebook chat.

The project involved children from Rafah, aged 10 to 14, in a brief process of self-representation and narration of daily life.

By contrasting the photographs of Rosy and Jacob—traveling in Palestine but outside the enclave—with those of the participants trapped in the Strip, the book highlights the violent restrictions of movement imposed on the Palestinian people by the Zionist entity.

What I did: graphic design and production.