West, For There Are Two

West, For There Are Two

by David Halloran


West, For There Are Two by David Halloran

West, For There Are Two explores the duality of the American wilderness and the creatures that inhabit it. Halloran has traversed what appear to be empty Western spaces, capturing them from both omnipresent and confined positions. Placing viewers above and within the landscape, Halloran’s work exposes the dynamism between the fixed horizon that separates mountain and sky, hills and clouds, and the stirring habitats of birds, chipmunks, and snakes.



David Halloran is a photographer, writer, and editor living in Dallas, Texas. With a wanderlust-driven spirit, a bachelor’s in Photojournalism, and master’s in Journalism, he took his skills to Ink Publishing where he was the photo editor for American Airlines’ in-flight magazines for two years.
During his tenure with Ink, Halloran chased moose through the wilderness of Maine, worked with some of the best photographers and illustrators in the world, and drove Maseratis through the snow-covered Rockies, among many other adventures.

Leonard Bundu by David Andrè Weiss


David Andrè Weiss

Corridoio Fiorentino, the gallery of the Digital Imaging and Visual Arts division of Florence University of the Arts – The American University of Florence (FUA-AUF), presents “Il Leone” by David Weiss.

This exhibit will be held online from April 30th until May 13th through a virtual exhibition hosted at

Works will include a special series of photographs that capture the famed professional Italian boxer Leonard Bundu, alias “Il Leone,” originally from Sierra Leone.

Bundu lives in Tuscany and represented the Italian Team at the 2000 Olympic Games where he defeated the world champion Daniel Geale. He has held multiple regional welterweight championships including the European title twice in 2011 and 2016.

In this photo exhibit the images reveal different moments that Leonard has had to face. Gaining a victory implies embarking on a journey, a story, and a beginning.

The series also underlines the decisions that individuals have to make, choices in life that in turn lead to our destiny.


The following courses and their respective FUA-AUF divisions have contributed to the event organization:


Exhibitor: David Andrè Weiss

Curators: Introduction to Creative Videomaking EL



Eros and Logos: Between Reason and Pleasure.

Eros and Logos

Between Reason and Pleasure.

DIVA/IDEAS Final Student Exhibit

Florence University of the Arts – The American University of Florence (FUA-AUF) will open online, on, the DIVA/IDEAS final Spring 2020 Semester student exhibit Eros and Logos: Between Reason and Pleasure. The exhibit will inaugurate on Thursday May 14, 2020.

The word Eros is simply rendered in English as “love,” but the term holds a greater and more passionate significance than such a simplification. Eros is a deeply sensual, erotic, sometimes irrational love. A love that can vary in intensity and interpretation for everyone. Just as love is passionate, so is creativity. Love can be so energetic that it is equivalent to vital life energy. Erotic and creative energy is a fundamental spiritual aspect of human life. But Eros can be chaotic, and it needs to be grounded to function effectively. The counterpart to Eros is Logos, the true principle of rationality. Logos grounds Eros but does not constrict it. Rather, it gives love objective interest and reason as why to use its energy.

In artistic endeavors, Eros and Logos are constantly working in tandem, whether one is aware of it or not. Creativity needs rationality and vice versa; communicating as the inner essence and outer expression. Art strives through creative purpose, and Eros and Logos personifies this scope in every detail. We can often forget that we all have a driving creative energy and often minimize this quality by assigning it to “artistic” beings. But we are all creative in our own ways, manifesting our Eros and Logos in a variety of mediums and areas. The courses selected for the final exhibit include Introduction to Digital Animation; Project for Sustainable Interior Design II; Digital Graphic Illustration; Introduction to Digital Photography; Interior Design Materials and Furnishing; Intermediate Interior Design; Introduction to Photography: From Darkroom to Digital; iPhoneography; Instant Communication: Words, Images, News; Landscape and Architectural Photography; Photojournalism; and Introduction to Fashion Photography.

Solo Exhibit and Publication of Solo Work 


and Publication of Solo Work 

 FUA-AUF Career Photography Students

Lorenzo Brini

Miro Zero

Lorenzo Brini

Opening: Thursday, September 3, from 6:30pm
 Miro Zero
Lorenzo Brini

Accompagnamento musicale:
String trio Water Music – Suite – G. F. Haendel 

In a dreamlike world imagined by Lorenzo Brini, tiny anthropomorphic figures create new ideas that sustain nature and the environment. The characters invent zero-impact tools that foster self-sustainability within their delicate ecosystem, the territory itself supplies the necessary resources for production and social systems without compromising systemic resilience – miro zero, aiming for zero.

David Weiss

Iconic Florence

Metalli preziosi, sostenibilità e territorio


I have always been attracted to what happens behind the curtain, where things come from, and “the hidden.” The camera is a tool for me to explore my curiosities, myths, childhood desires, and wishes. It can be a complicated visual process or something as seemingly-simple, as making portraits.

These are photographs of Florentine artisans. Not the typical inner-city artisans that are sought by tourists, driven by the Siren Song of the Instagram feed. Those artisans work in shops in small side streets that tourists safari into, hoping to catch a glimpse of “real” artisans working at their craft. Those interactions change the relationship between artisan and art, and between craft and consumer.

The artisans in these images aren’t working in the city center. They are found somewhere just outside the center. In this sense they are pure, untouched by the desire that someone will walk in and discover them. This is no back-lot film set designed to create the illusion of authenticity. Pampaloni and the workers are authentic. They are the real deal. They work in precious metal, create works of subtle beauty from a process that is anything but delicate. Fire, machining, ancient, roughly-hewn techniques bring about objects of refined and polished loveliness. The portraits are of the men who combine both labor and aesthetic, every day.

From pre-production to the final product of silver objects, silverware, goblets, candelabras, to awards/trophies made for the Oscars, there is always a touch, or better, a sense of whimsey or jest in their work. Even in the operation of their restaurant (yes, they also run a fine-dining restaurant at the same location), there is that game-play of Pampaloni art.

My approach to making these images was to be as formal as possible reverting back to images made by August Sandler in his portfolio, People of the 20th Century, but without claiming to represent “photographic neutrality,” which, as Susan Sontag rightly indicated, is pseudoscientific at best. Instead, I wanted to ensure that the point of view of the subject was communicated as clearly as possible, through Sandler’s idea of “exact photography” without retouching or any other manipulations of the images so that the viewer could ‘read’ the portraits as easily as possible.  In so doing, I decided to make these images using positive film and a large format camera. The process took me personally back to when an image was made at the moment the shutter was released.  E6 film doesn’t allow for any mistakes in exposure, and the large format camera does not allow an image to be made using methods of last-minute improvisation. There is no post-processing. Everything is done with intent as the shutter is pressed.

David Andrè Weiss

Andrea Mancini


(Tutto va come deve andare)


Entropia (Tutto va come deve andare)

Mostra di Andrea Mancini


L’acquerello, o l’imprevedibilità della perfezione.

L’acquerello, nelle arti visive tradizionali, è la tecnica più sottovalutata e difficile che ci sia. Sottovalutata sin da bambini, quando regali la confezione con le pastiglie colorate e il pennellino, sottovalutata soprattutto da quei critici e galleristi che per un antico pregiudizio storico ritengono Oli, Acrilici, Alchidici, un migliore e più sicuro investimento in arte.

Difficile, perché come in nessuna altra tecnica l’acquerello richiede all’artista di mettersi a disposizione totale della imprevedibilità, dell’autonomia che questa tecnica richiede per dare il meglio di sé, per aspirare alla perfezione.

Non avrai mai due sfumature uguali, non sai mai dove e come sarà “la macchia” asciugando sulla carta… In altre parole l’acquerello non lo puoi controllare e devi imparare a lasciarti sorprendere dalla sua magia prima di dominarlo. Chi lo ha usato anche solo per diletto sa quanto questa proprietà spaventi e risulti frustrante al principiante come all’artista più consumato.
L’acquerello, per me, è la tecnica della leggerezza. Sin dai primi approcci l’ho sentito in sintonia con la mia maniera veloce e d’impressione, spesso volutamente non-finita. Forse per questo l’ho sempre preferito. Per l’immediatezza di espressione per raccontare un’emozione o per fermare l’attimo alla stessa velocità del pensiero. Con l’acquerello ho illustrato alcuni momenti del mio percorso artistico come fossero appunti scritti di getto. Talvolta sono stati frutto di mirati studi preliminari per arrivare a “quel” gesto, puro, estetico e sintetico (è il caso degli acquerelli creati per la moda o alle serie dei cantieri e degli accumuli). Ma la maggior parte di queste carte sono più spesso pezzi unici, non ripetuti, non studiati, quasi nel rispetto di un “ora e subito” che rendesse in un colpo solo l’estasi visionaria di un’immagine senza tanti filtri ma così, come mi veniva. Alla prima. Perché l’acquerello non ti consente pentimenti, e io – di lui – non mi sono mai pentito.
Queste tavole che vi presento sono come le pagine del mio diario, ognuna legata a momenti importanti della mia carriera, ad incontri e svolte professionali della mia vita che ne hanno tracciato il percorso con la stessa imprevedibilità e lo straordinario effetto a sorpresa di un pigmento sciolto in acqua.


Andrea Mancini
Andrea Mancini, è un illustratore e artista digitale. Diplomato in Grafica pubblicitaria e fotografia all’Istituto Statale d’arte di Firenze con un maestro dell’illustrazione italiana come Leonardo Mattioli, ha esordito sul “Sergente Kirk” dell’editore Ivaldi di Genova, su “Circus” per l’editore Glenat di Parigi, su “Frigidaire” e “Tempi Supplementari” (Primo Carnera Editore), e per diversi giornali della sua città come La Nazione Il Corriere e il Brivido Sportivo.

Nella sua operosa carriera di illustratore pubblicitario ha lavorato per clienti come Piaggio, ENI, FIAT, Barilla, National Geographic, Giunti Gruppo Editoriale, Menarini, Ricard, Absolut Vodka, Ferragamo, Lardini Filottrano.

Ha esposto le sue opere in numerose mostre personali in Italia e all’estero (L’ultima mostra nel 2019 a New York nello spazio 632 on Hudson).

Dal 2012 realizza i suoi acquerelli per lo stilista Massimo Alba e crea i digital paintings per le promo video animate di Mediaset (Italia Uno Freedom). Andrea Mancini è oggi un formatore e trainer professionale di artisti digitali (Wacom) e un educatore e divulgatore di anatomia artistica e tecniche tradizionali in scuole, accademie e già dal 2018, di workshop e corsi online.


Palazzo Villani Stiozzi Ridolfi/Cafaggio del Vescovo

Via Ricasoli 21 Firenze

Lunedì – Sabato 8:30-21:30

Mind Garden: Sustainability & Environment

Mind Garden

Sustainability & Environment

FUA-AUF Final Student Exhibit

This virtual exhibit entitled “Mind Garden” is more than a showcase of the student work from this semester. It’s a beautiful representation of how each student followed their dream to come to Florence to study, learn, and express themselves.  I am reminded of the quote from Aristotle, “Whatsoever that be within us that feels, thinks, desires, and animates, is something celestial, divine, and, consequently, imperishable.” Mind Garden as a theme embodies the power of thought and a space where the seeds of ideas are sown. As ideas, concepts, and identities take root in individuals, a window of opportunity widens for rebuilding communities worldwide despite the uncertainty of current terrains. The creativity in each featured work is the result of how each our students cultivated their self-expression in unchartered places, many far from their home countries and all within the challenges brought on by 2020.

I would like to thank Fall 2020 students, faculty member, and staff for their commitment to learning and discovery, for believing in this semester’s journey of knowledge and experience in Florence. It will be an unforgettable term, and the visual documentation generated by the exhibit’s results will provide an ongoing source of reflection in the years to come.

David Weiss
FUA-AUF Staff, Digital Imaging and Visual Arts Coordinator



The art of gardening art

The words of culture are the words of cultivation: the Latin verb colo is a shared root for both the words “cultivation” and “culture”. A cultivated person is a person who cultivates culture all life long.

Prepare the soil, nurture and keep it moistened, select your seeds – some are traditional, some are recovered form forgotten traditions, some others get introduced as experiments –, shelter the seeds to allow their hidden work in the dark to unfold, pray for sun and water, keep your garden clean and safe, foster the right ecosystem to take place for a respectful as well as fruitful growing, spot the first soft green tones to appear – every time a surprise, fear for a sudden storm to ravage everything, wear a hat when light and warmth bring fruits to their glory and enjoy for a moment your own reverence in front of life unfolding. 

The art of gardening art shows the same pace and traditional knowledge: seeds make their way into the dark soil of learning, through a humble and silent process of getting nurtured and protected for a long time before daring to dot the world with forms and colors. 

Semester after semester, I have the privilege to witness all this happening in the minds and hearts of my art students, all the more in foundation art courses, like the ones I have taught this Fall 2020. 

Students are naturally aware of this analogy between cultivating art and gardening: their works and statements stress both the conceptual link between the two, as well as the sensual pleasures of growing while learning and accepting the process of it, with the aim of offering fruits to the world, in a circular movement that will nurture and give life to more art in the future. 

For moments, days, sometimes weeks, students have experienced the hopelessness that always tempts artists and gardeners. But they have also experienced that, eventually, fruits will grow, harvest will come, others will share their works. 

I saw surprise, even awe in the eyes of many of my beginner students, who could not believe that hard work, passion, commitment, and time had brought fruits. And they were right, indeed, as gardeners and artists know that the crucial ingredient to cultivate the world is faith. 

This is the sweeter fruit in the garden of art.

Professor: Nicoletta Salomon

Courses involved: Florence Sketchbook, Intro to Art Therapy, Foundation Painting, Words, Painting and Emotions: the mind map of creativity




Metaphors referring to the botanical universe are those most rooted in the depths of the human psyche. Even today in everyday language there are references to trees, forest seasons, gardens. A forest of symbols, the roots of thought, cultivating passions are all linguistic expressions that derive from the deep bond between man and the world of plants. In an attempt to describe the creative process using this universe of analogies, I am reminded of the words of the artist Joan Mirò “I work as a gardener. Things mature slowly. My vocabulary of forms, for example, I didn’t find out in one fell swoop. It was created almost in spite of me. Things follow their natural course. They grow, they mature. You have to prune. You have to irrigate…”

Professor: Paride Moretti

Florence Sketchbook

Aleksandra Tsangarides
Hinsdale, Massachusetts
Endicott College
6in x 8.5in
Pen on paper

This piece was created through the act of subconscious “doodling,” something that I often do to recollect my thoughts and to gain control over my mind and body. The act of drawing with a pen in this way brings me to a sort of meditative state. There is no preliminary


Mackenzie Zorn
Carlsbad, California
Independent Student
“Perfect Piazza Navona” 
Pen and ink on A4 paper

A quick sketch made while sitting in Piazza Navona, Roma.

Aleksandra Tsangarides
Hinsdale, Massachusetts
Endicott College
size A4 
Pen on paper
Piazza della Repubblica

Letizia Guidine Costa
size A4 
Pen and pencil on paper

The mind garden should blossom good feelings and good intentions. If people’s’ mind flourishes the good, the world will also be a garden, full of goodness.

Mariyam Manal Mushtag
Colombo, Sri Lanka
“Water Me”- 9.5x8cm, Pen

The sketch outline how nature and humans grow co-dependently, and how one is vital to the survival of the other. It also explores the sense that all living things need the same things to prosper, like water, nutrition etc. We are all essentially one and the same. We “root” through life a similar way as our plant counterparts and simplistically saying, all we need is love and care to blossom.

Foundation Painting

Aleksandra Tsangarides
Hinsdale, Massachusetts
Endicott College
12 in x 13 in
Acrylic on canvas

Created through a balance between choice and chance, this piece explores the idea of perception. In his book A New Earth, author Eckhart Tolle claims that there is a “deep interrelatedness between your state of consciousness and external reality.” What grows in your mind is what cultivates in your world; what you believe is what you see.

Karolina Serejute
Mixed media / Collage on Watercolor Paper 26x36cm

“Treasures of Nature are Temporary.”

The common desire of a person is to draw from nature without considering the importance of giving back. The most common human way of living and expanding disrupts every sphere of nature and distorts the world. Now the density of cities and the noice of the people within overflows the space in which other beings did once dwell and thrive. Humanity renders the beings which once reigned over the earth silent.

Morgan Relyea
Ballston Spa, New York
Endicott College
“Slow Growing Progress”
21 x 29.7 cm
Watercolor and acrylics

I created a very layered piece, focusing on texture, color play and transparency. I painted layers of flowers on top of each other to show how ideas are built upon and built upon until change occurs. I increased the saturation of the colors and the thickness of the paint no each layer to create depth.

Introduction To Art Therapy

Lucy Joy L. Bianchi
Ink and Watercolor on Paper
Dimensions: 22cm x 28cm
Denver, Colorado
Colorado Christian University
Psychology student with minors in English and Art

A Reflection on Blossoming as a Result of Art Therapy

To feel or think is to see but to feel and think is to understand. I yearn to touch my hands to paper and clay in such a way that whatever I create calls my mind and my soul together in a quiet symphony of synapses and breath. I yearn to be not fragments but one… and, in these moments, I am.

Michaela Ellison
Cumberland, Maine, USA. Endicott College.
“When the Great Creator Grows”
Watercolors & Markers

When crafting my work, I like to reflect in my mind what emotions or feelings I may be experiencing. With the concept of the Mind Garden and thinking of the question “Do you even grow anything in the garden of your mind?”, it allowed me to express emotions from within. The possibilities of creating are endless, and there is no limit to what can be done. Now more than ever, art is the center of my world. It has been my outlet during stressful times, but also has been a source when things are going well.

Words, Painting, & Emotions

Aleksandra Tsangarides
Hinsdale, Massachusetts
Endicott College
12in x 13in
Acrylic on canvas

I created this piece as I sat in a state of contradiction; cross-legged on the cold, tile floor, while the
warmth radiating from the heater flowed onto my back. The development of this piece sprouted from my awareness of these two opposing feelings on the top and lower parts of my body, loose and comforting vs. sharp and unforgiving. This visual representation of awareness, of the senses, had directly sprouted and developed from a form of consciousness planted deep in the mind.

Alyssa Kurland
Norton, Massachusetts
Endicott College
The Mind’s Eye
30cm x 40cm
Acrylic on Paper

The Mind’s Eye is a work created with limited acrylic palette on canvas. Through the combination of natural imagery and Zentangle patterns, I created a visual representation of how I experience the world around me as an artist. When creating art, I take inspiration from the
world around me. I take moments and emotions from my own life and internalize them, allowing them to grow and flourish as a concept inside my mind until I feel that I am ready to reintroduce them to the world around me as my own creations.

Samantha Kourtz
Berkley, Massachusetts
Endicott College
“Grow with the Flow”
Watercolors, graphite pencil, and acrylic paint on paper

While making this painting I was inspired by simplistic pen drawings of greenery and the shapes and forms that they made. I choose colors that are calming to me and make me think of nature. A mind garden is not always perfect because life isn’t perfect, we grow and learn from all types of experiences. This painting represents to me growth through experience and the state of learning to accept the process

Arianna Rubio
Monroe, New York
Endicott College
Flowing Beauty
12” x 15 ¾”
Acrylic Paint and Sharpie Marker

This artwork was created by using acrylic paint and black markers. I always love the uncontrollable factor of placing water on paper then adding paint to it, creating a scene of colors with different amounts of dilution. When I think of “Mind Garden,” I think it is unique and personal to every single person but it is the beauty of all our thoughts and ideas swirling around in our minds to eventually be flowing out of us in a creative way. You nurture your ideas and practice patience when discovering what it is you want to create like a literal garden.

Mixed Media

Anel Tulegenova
DOS Education
Title: The boomerang Principle
Two pieces 50cmx70cm Oil And acrili on canvans
Mixed Media

The diptych personifies the relationship of man to Mother Nature. The most important thing in this composition is our biological instrument – hands, which are a means of expressing feelings and actions. Two birds are a reflection of our beautiful world and at the same time personify the Boomerang Principle in my paintings. We have to take care of nature, and she will take care of us.

Group Project Mixed Media Class
“Map Your Paradise”
England Caleb, Harris Demi, Serejute Karolina, Tonetto Anna Giulia, Tulegenova Anel, Okwuowulu Mary Lucy.
Tecniques: Maps, watercolors, pen

What is a map? How does the representation of geographical space coincide with the real aspects of the territory?  Why do some cartographic boundaries have geometric shapes while others follow the natural designs of rivers or mountains? What is a geopolitical boundary and how does this limit affect the interactions between the peoples it separates?  

This experimental group work starts from the appropriation and recycling of old maps of sub-Saharan Africa. Students were asked to put an ideal garden project back on the map. From the overlapping of the poetic and utopian gesture to topographic geographies emerge questions and reflections on the interconnections between man and geophysical space.

Paride Moretti

Caleb England
“IL Mio Vero Fratello”
oil on wood panel, 34cm W x 47cm H
Mixed Media
Prof. Paride Moretti

Inspired by an event from my own life of a friend saving my life in the summer of 2019 after a suicide attempt. Though we may seek to cultivate the mind garden to flourish and blossom, there may remain untended areas which can spread disease and rot to other plants. I was in the military with the man pictured with me, we have spent many events in extreme danger together.

Sculpture & Ceramics

Demi Harris
“Back to our Roots”
Clay 45cm
Foundation SculptureProf. Paride Moretti

I took inspiration from primitive and African sculptures, which lead me to the sculpture work of Amedeo Modigliani. After researching these works of art, I was drawn to the abstract representation of a face and how it could captivate so much emotion in something quite simple. For my sculpture, keeping the theme of mind-garden in the back of my head, I wanted to create something that would directly connect with nature by holding the earth/plants (aka a vase). As I began working I wanted the face to look as if it was thinking, held by its hand in symbolism to the power of thought. I created this piece to be a show piece, inviting the audience to think for themselves about the footprint they live on this earth and how desperately we must get “back to our roots” to save this magnificent planet we call home.

Anel Tulegenova
DOS Education
Title: Peace of Mind
Foundation Sculpture
Prof. Paride Moretti

The sculpture represents calmness and an inner state of confidence. A kind and wise look conveys great spirituality and harmony. This universal harmony unites all things together so as to make one, which helps us to find mental and psychological balance. Facial features and expressions reflect a positive attitude towards all living things and beauty. A person who is spiritually rich always tries to bring love and a proper understanding of his life.

Anel Tulegenova
DOS education
Title: Father of the Forest
Ceramic Beginner
Prof. Paride Moretti

The Green Man represents the spirit of nature in the form of man. Since ancient times, people believed that human beings are directly related to the fate of nature. The Green Man mutely reminds us that we forget. This unusual personification of sort of forest god combines a love for flora and fauna that is inherent in the human mind.

eL in digital Photography

1 year

eL in digital Photography

2 year

Ornella Fanciulli
Full Time Student 3rd Year
Visual Communications
“The Journey”
Medium Format Black and White Film
A4 Canson Photographique

While seasons come and go in their stable cycles a person’s journey is always filled with ups and downs and that is what ‘The Journey’ is all about. The phases that most of us go through like experiencing many pains, struggles, and trials. A quote from K.M. Golland ‘Life is full of ups and downs, twists and turns, love and loss. And life would not be worth experiencing if it weren’t just that. You can’t have the good without the bad, you need to somehow learn to accept the bad and adjust it in a way that you can endure and overcome’. All of this is portrayed through a pair of shoes.

The shoes you wear, like fashion and beauty products, may tell something about who you are as a person. Not only does your favorite footwear allude to your everyday mood, it is a sartorial icon often bundled with hints about your tastes and hobbies. After all, shoes are armour, in which we can protect our feet and the foundation needed to take on everything the day can throw our way, whether it’s a
torrential downpour or climbing stairs.

By removing the “human element” from my portraits, I was forced to show visual emotions via the details of the locations and the scenarios that the pair of shoes were placed in. My goal was to abandon the typical semiotics way of reading portraits and allow the viewer to come to a conclusion of what was happening to the pair of shoes simply by the way the image was photographed and where.

The decision to shoot in black and white film is because film has a timeless consistency to it. It can be striking, engaging, breathtaking, and certainly moody. Film eliminates any color distraction enabling the viewer to concentrate on other aspects of the picture, such as the subject, the textures, patterns and shapes, as well as the composition with no color interference. Psychologically, something about the variation in tonal ranges, rich blacks, and intense contrasts are appealing to all of us. It establishes a connection that causes you to stop and pay attention to what is being addressed.

Intermediate Interior Design

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Lighting Design

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Possible City

The Possible City

Sustainability & Environment

FUA-AUF Final Student Exhibit

The Spring 2021 Final Exhibit featuring the works of digital media and fine arts students of FUA-AUF represents the individual search for positioning one’s self in an imaginary space. From the perspective of “The Possibile City” theme, the current pandemic leads us to re-imagine who we are as individuals inhabiting a space. The body of work presented at this exhibit is a series of personal explorations of the intersections between self, possibility, and space. Self-exploration is examined as one of the many forms of discovering one’s possibility and imbuing it with a new meaning through shapes, forms, words, and semiotics. As individuals positioned within the city of Florence, the idea of the possible city materializes through the student visions, intensely personal yet choral in their shared experience and experimentation of the represented media.

Introduction To Art Therapy

Demi Harris
Boise, Idaho USA
Boise State University
Title: “Soul Child”
Dimensions: 23x 30 cm
Medium: Watercolors, Print of my photography, Markers, and Pen

The war of words that takes place in my head, this is a battle between the positive and negative.  Painting my fears on a page and letting my words devour them, clears my mind and takes care of my soul child. I begin by slowly scraping the surface and the more layers I add the deeper I dive into my inner thoughts and feelings. I take notice of the soft yellow voice in my head uplifting, encouraging, and caring for my soul child under the louder opinions. This is my chaotic mind mess on a page.

Karolina Serejute,
“Cities are people”
oil pastels, black permanent marker on Acrylic paper 21 x 29,7 cm.
FSE, 2021 Spring, Introduction to Art Therapy course, FUA.

Cities are often overcrowded with the abundance of people, their hustle and bustle, their activities, that is social life. In the face of a pandemic, people changed, some found joy in small things while others closed or even plunged into depression. What the face of the city will be after these trials will depend on each of us and our reaction to them.


Demi Harris
Boise, Idaho USA
Boise State University
Title: “Remaining Ruins”
Dimensions: 23x 30 cm
Medium: Watercolors, burned journal pages, and pen

Nostalgic thoughts filled my mind as I wrote down my feelings on a bus ride through the once new and bright city. The deserted streets feel emptier seeing that the people I love and care for no longer walk its cobblestone roads. Since they have gone the city feels grey and bare. The beauty remains but now the colors have faded and it’s magic has burned away.  

Mabel Stevens
University of Massachusetts at Amherst, Intro to Art Therapy, Rope, 17 centimeters, pencil sketch

While in Florence I have been able to detach from my normal life and experiment with different experiences, places, and people. Unfortunately, that has led me to get COVID and land myself in an over twenty-day quarantine. Once I am released, I will be able to continue my involvement in my study abroad program until my final days, then I will be going back to my normal life back in the states.

Caleb England
“Room With a View”
36x26cm, Oil on paper

Foundation Painting

Alexandra Hieks
William & Mary
Ghosts of the New Normal
Oil on Oil Pad 28 x 33 cm

This piece reflects on how accustomed the world has become in the past year of the “new normal” of the global pandemic, including normalized everyday aspects of temperature cheak’s, Covid-19 testing, social distancing, and masks. In the post-pandemic future, these aspects will gradually fade away to only be uncomfortable memories. 

Haley Wagoner
University of South Carolina; Foundation Painting; The Unforeseen City; Oil Paint with Blending Technique; 12×16 cm.

The idea behind my painting is the uncertainty and unpredictability of the post-pandemic future. The gondolier is paddling toward a clouded city, hidden from a complete range of view. Ultimately, this portrays the unforeseen future and the inability to determine how our world and its cities will look in the years ahead.

Intermediate Drawing

Sienna Ellenberg
Kennesaw State University
Pencil, watercolor, and white gel pen
9’’ x 10’’

I imagine that once Italy returns to its former state, the abundance of the art held here could be fully admired once again. In my piece, I have painted a young woman finally going to museum that had been formerly closed. She admires a painting that she can finally see with her own eyes for the first time.

Alexandra Hicks
William & Mary
Yesterday, Today & Tomorrow Graphite on Paper 23cm by 23cm
Intermediate Drawing

This piece reflects on the similarities of the 1918 Influenza pandemic to the current Covid-19 pandemic. The figure is shown giving a worried look towards the future, and the almost inevitable pandemic of tomorrow.

Florence Sketchbook

Anel Tulegenova
DOS education
A long-awaited event
Watercolor and ink

Two hugging figures represent the value of human communication, friendship and love. This work reflects the meeting of people after a long-term separation, when there was no opportunity to meet with loved ones and travel to other countries.

Alexandra Hicks
William & Mary
Exposure Brush pen and watercolor on paper 1
3cm by 18cm
Florence Sketchbook

This piece reflects on how the past year or so of trauma, uncertainty, and death is coming to an end through something as seemingly insignificant as a shot or two in the arm. Additionally, the work comments on how this vaccine brings about changes in social exposure that we have become no longer accustomed to.

Landscape & Architecture

Anna Mae Houston
Newschool, NY
“Religious Exploration”

Religion and God are two things that I have never been able to really connect with and understand. I was raised Catholic, going to catechism, masses and other church events. My younger brother and I struggled with what was truth, what was faith and what was science. At 15 we both decided against getting confirmed. I have been estranged from religion for about 6 years, but when coming to Florence I felt the relationship open back up just a bit, not necessarily for acceptance, but potentially to understand what others gain from the aspects that I have been missing all of these years. Religion and God are both tied into the cities history, architecture, culture and essence. No matter the religion or the belief, it is beautiful to see what has been built surrounding the light and worship over many years of rich spiritual history.

Caitlin Laliberte
Endicott – MA
Your Right of Way

In life every individual is actively making decisions that are for the future but reflect and affect the present from the past. A future ahead that is unseen but is slowly laying itself out before our eyes. And the present, which we are in now. Life is unpredictable and full of ups and downs. It tends to throw us curve balls and surprise us with things that end up not only challenging us but pushing us to discover new things about the world and ourselves. There will be construction, there will be difficult decisions, there will be a day when the leaves fall from the trees. Yet there will be a time when the flowers bloom and the leaves on the trees grow back. They key, I have found is perspective. To find the beauty in the imperfections and embrace them. Not everything needs to be fixed, as the change of path could lead to something great that someone might not have seen before.

Boise State University
Boise, Idaho USA


Straying away from the suspected images of architecture and landscape
photography, I’ve created the photographic series “Surface“ to showcase the unique
qualities of body scapes and the contrasting textures of architecture and nature to
the human body. Normally a portrait photographer, I decided to mix the two
mediums of photography as I showcase my processing skills in Adobe Photoshop.
My intention for the work was to create an image for viewers
to enjoy at first glance and think of its meaning beyond the surface. My hope is for
the viewer to connect with each image independently while framing their own
narrative with the sculptures. Having been my first body of work experimenting with
architecture, I grew more confident in the subject and was excited to combine my
love for portraiture with this project.

Advanced Videomaking and Post-Production

Ornella Kristall Fanciulli
ACTORS: Harris Demi & Taylor Samuels

The commercial aims to showcase what a Possible City would look like. A world that is hands free. We will be able to display photographs, play videos, and use web browsers right in our line of vision in the future thanks to advanced contact lenses. Soon, we’ll be able to take pictures simply by blinking, see city maps appear in front of our eyes as we walk, and see previously blurry objects in the foreground come into focus.

Experiential Learning in Digital Photography

Demi Harris
Boise State University
Just a Phase 

This body of work represents a vulnerable time in my life when I opened up about my curiosities and sexual interests with people I cared about most, and was met with anger and disapproval. This spring, I began using the medium of photography to work through the feeling of shame and explore my sexual interests in a creative way. Just a Phase purposefully showcases the playfulness I had in exploring different settings, moving from indoor photoshoots (in studio, home, kitchen, bathroom) to outdoor photoshoots (on the streets of Florence), as well as, changing the format of my photography from film to digital. Originally inspired by the erotic photographer Robert Mapplethorpe, I mixed and blended inspiration from eccentric fasion photographers David LaChapelle and Helmut Newton. 

When openly sharing my sexual interests in women and bdsm (bondgage and discipline, domination and submission, sadism and masochism), I was constantly met with shameful statements such as; “You’ve always liked men, this is just a phase”, “Don’t be that girl that experiments with women in college”, “So now your lesbian or bisexual”, or “Your doing this for attention”. Feeling guilt from my families ideals and societal pressure to choose a name and box for my sexuality, Just a Phase is a confident showcase of my erotic interests, sexual playfulness, and internal emotional explorations to the outer world. The series was intentionally photographed in black and white to highlight the subject and objects in the photograph rather than distract the viewer with color. Each image is charged with erotisism and undertones of societal pressures on sex, marriage, gender and gender roles. This nonlinear work of images is not asking for approval from its audience, but instead each individual photo is meant to provoke the viewer into feeling something different, begging them to question their own narratives, perceptions or indifference towards the photographs. 

Taylor Samuels
University of Vermont

My Life at Home series, titled “Fishbowl”, began as my photography project last fall during my Introduction to Digital Photography course. It started by being a documentation of my roommate, Carly, going on dates, and I soon realized that I enjoyed capturing these intimate moments. When Carly ran out of people that she wanted to go on dates with, I simply began documenting my roommates and friends in a more intimate way, things that an outside viewer would not normally see of someone they are not close to: getting ready for a night out, celebrating the holidays, eating meals. I like the way it feels to look at these images, and the sense of closeness and familiarity it emits. 

After living with Carly and my other roommate, Kaitlyn, for 6 months, we have created more than a friendship, rather a sort of sisterhood. The bond between women is certainly special and I see this more and more as I get older and my friendships, old and new, continue to strengthen. I wanted to continue capturing these intimate moments, but this time in a new and evolved way. During the 3 weeks that I had this course, I was taking 5 classes at once and was doing school work from the moment I woke up until the moment I went to sleep. Because of this, I considered concepts based in our home since I did not have many opportunities to go out and dive into a project that involved travel to a further location or multiple locations. Another factor that I considered is how I am always taking photos and videos on my iPhone to document my life, but unless it is a silly selfie, I am not in the photos myself. I want to remember these moments, what I look like, how I feel, what I am doing, and how I interact with my environment and the others in it. After discovering all these aspects, I concluded that I will continue this series, while also inserting myself into the images using a tripod. 

This project means a lot to me. While more than half of the photos are posed, with the concepts previously decided, they are all representative of our little life together. Whether we are fighting, staying up late having deep talks on the terrace, cleaning, or getting glammed up just to take photos in the apartment, we are coinciding alongside each other. An important factor of this project is that we have been living through a global pandemic, not doing as much as we used to out in the world. This has made us evaluate our time inside, in efforts to make it as meaningful 

as our time outside. Kaitlyn, Carly, and I have done a pretty decent job of figuring things out while locked in a small apartment together for weeks at a time. I like to think that our relationship itself is what makes our time at home special, and worth capturing. 

Rory Torstensson
“מחפש תשובות” – Searching for Answers 
Black and White Film
Fine Art Canson Satin RC and Baryta Paper

Human beings are searching their whole life. People begin their life with searching for their mother’s voice. This is the only thing that brings comfort to most babies. This feels safe. When children grow and start to detach from their mothers side, they search for an object like stuffed animal, that brings them the same kind of comfort as their mothers voice. As some children get older, their families instill in them the ability to find their next stage of comfort in a religion. I have been brought up Jewish, and have learned about the stories from the Torah my whole life. As a child I went to temple every Saturday with my family and watched my mother with her peers praying, but from the start, I had questions. I didn’t understand why I couldn’t wear my favorite dress since it didn’t cover my shoulders, or why men and women were treated differently in the stories in the Torah and in my temple. When I asked my questions, I never received an answer that I felt completed my question. My curiosity became deeper as my siblings started to find comfort in our religion. During my time here in Florence, I’ve encountered multiple struggles. No one tells you in high school how to prepare for being on your own. After becoming connected to a synagogue in Florence, I attended a Shabbat dinner. Even though I don’t keep Shabbat anymore, I was welcomed with open arms. I found comfort in family.  This project has been a form exploration and questioning. I feel this project is a visual interpretation of life as a young Jewish teen brought up with orthodox education, questioning every piece of information handed to her. My brain is a rollercoaster of thoughts, wondering why I must be covered, and why I must follow the rules or else receive a punishment. It’s frustrating and confusing, but a journey I have only just begun. 

Introduction to fashion Photography

Kaitlyn Kantor
Fashion Design, Merchandising, and Media,

Danelia Rodriguez Santana
University of South Florida
Journalism and Media Studies

Margarita Matta
University of Pennsylvania

Avery Barakett
Harvard University
English and Economic Studies

Emma Nyangwara
Endicott College

Iconic Florence

Madeline Wallace
Humber College

Emmanuel Samuel Prince
Creative Photography
Humber College

Almost Nothing by Nicoletta Salomon

Almost Nothing

by Nicoletta Salomon

Non c’è  separazione fra supporto e dipinto, è sparito il mio fondo bistro, non ci sono strati, la tavolozza è schiarita, sottile.

Il lino trasparente senza imprimitura riceve il colore assorbendone una parte: il dipinto è nella tela, non su di essa, è mondo non sua immagine. Il sostrato si fa sostanza, sinolo di forma e materia.

Ritornano il quadrato e una linea orizzontale, la frontalità prospettica delle icone, ma dentro ci sono aria e acqua.

Tutto si muove in una marea senza rumore.

‘Almost Nothing’ ha preso forma nel silenzio, con materiali scelti.

Un numero minimo di punti cuce su carta i frammenti di tela degli studi preparatori. 

Ho lavorato in casa, sola.

Nicoletta Salomon



There is no separation between canvases and the paintings. My usual dark background has disappeared. There are no layers of colors, my palette has become subdued and light.

Colors soak into transparent unprimed linen: the painting is not on the canvas, it is in it, it is a whole world, not just its image. The substrate becomes substance, a synolon of form and matter.

The square and a horizontal line keep recurring, as well as a frontal perspective: air and water are in them. While everything floats, no sound is perceived.

‘Almost Nothing’ took shape in silence, with selected materials.

Fragments of my preparatory studies are sewn to paper with scattered stitches.

I have worked at home, in solitude.

Nicoletta Salomon

#5, mixed media on canvas, cm. 90×90, 2020

#7, mixed media on canvas, cm. 100×100, 2020

#11 mixed media on canvas
cm. 40×60, 2020

#12, mixed media on canvas, cm. 60×80, 2020

#14, acrylic on paper, cm. 50×65, 2020

#15, mixed media on canvas, cm. 50×50, 2020

#16, acrylic on paper, cm. 50×65, 2020

#19, acrylic on paper, cm. 50×65, 2020

#19, mixed media on canvas, cm. 50×50, 2020

#16, acrylic on paper, cm. 50×65, 2020

#19, acrylic on paper, cm. 50×65, 2020

#19, mixed media on canvas, cm. 50×50, 2020

#20, mixed media on canvas, cm. 50×50, 2020

#24, mixed media on canvas, cm. 40×40, 2021

#26, acrylic on canvas sewn on paper, cm. 50×65, 2020

#27, acrylic on canvas, cm. 30×30, 2021

#28, acrylic on canvas sewn on paper, cm. 50×65, 2020

#29, acrylic on canvas, cm. 30×30, 2021

#30, acrylic on canvas sewn on paper, cm. 50×65, 2020

#33, acrylic on canvas sewn on paper, cm. 56×76, 2020

#34, acrylic on canvas sewn on paper, cm. 56×76, 2020

#34, acrylic on canvas sewn on paper, cm. 56×76, 2020

#41, acrylic on canvas, cm. 70×70, 2020

“Alberi”  Photographs by Marco Gualtieri


Photographs by Marco Gualtieri

I felt stuck. Time was frozen. No one was around until I photographed the first three images. Alberi is a photographic series that is my perception of nature portraits during the past winter. I spent my time taking long walks in the surroundings of Florence and in its parks to break the monotony of the restrictions to our social life due to the pandemic. The observation of the overlooked landscape around me has always been at the center of my photographic research but for some reason I always seemed to point my camera lens at the urban environment and at nature itself. In this series I found a personal connection with trees. This connection developed into a fascinating visual journey where I discovered an infinite variety of imaginary characters living in the tree trunks. I discovered an enchanted forest as my work evolved. All photographs displayed at Corridoio Fiorentino were made with traditional black and white film and printed in a darkroom on photographic paper. 

BIO Marco Gualtieri is a landscape photographer based in Florence, Italy. He has a Master’s degree in Visual Arts from DAMS (Drama, Art, and Music Studies) University of Bologna, Italy; a Bachelor’s degree in Cinematography from the National Film School of Rome; a certificate in Documentary and Photojournalism from the International Center of Photography of New York. His work has been exhibited in the United States, where he has lived and worked for the past decade. Marco is currently based in Florence and collaborates with Florence University of the Arts as a photography instructor.






























“DISVELARSI”  Paintings by Michele Berlot


Paintings by Michele Berlot


Scegliere il titolo per una mostra personale è ancora più difficile che scegliere quello di un quadro che, già di per sé, è un’impresa ardua.

“Disvelarsi” però è stata la prima parola che mi è passata per la mente pensando ai miei quadri e al modo che ho di lavorare. È un processo che si sviluppa per sovrapposizione di colori, materiali e pensieri che, se non riesce a concludersi con quell’equilibrio formale ed estetico che cerco, termina togliendo, grattando, andando a cercare qualcosa che era già lì e che aspettava solo di essere trovato.

Il senso può anche essere quello di “mettersi a nudo”, arrivando a rivelare qualcosa di profondo che, a volte, è sconosciuto pure a me. Ed è qui che nascono i quadri con i titoli più significativi.

Nonostante questo però, proprio per i molteplici passaggi che caratterizzano ogni mia opera, il risultato finale non è solo l’ultima espressione di tutto il lavoro ma rimane un mondo sottostante nascosto, completamente da decifrare. Per questo il titolo della mostra, DISVELAЯSI, è un manifestarsi solo apparente che costringe lo sguardo più attento a coglierne il senso più profondo.

Dieci quadri, realizzati per rendere esplicita la ricerca di un linguaggio al confine tra l’informale e il figurativo: ogni tela racconta la propria storia, la mia, e spesso anche quella di chi osserva.



Architetto, classe ‘63. Nasco, vivo e lavoro a Firenze.

Non mi definisco “pittore”… Faccio “altro”.

Qualcosa che innanzitutto serve a me, una forma di espressività, tangibile, che ti impegna anima e corpo ma che riesce anche a darti quel senso che spesso cerchiamo inutilmente. Esprimo stati d’animo, che spesso si modificano nell’arco della realizzazione di un quadro e a quel punto, nascono i lavori migliori. Ecco, qua sono nel mio centro. 

Perché la pittura. Mi ci sono avvicinato con molto rispetto, provenendo da studi prettamente tecnici e avendo realizzato per anni grafica digitale. Ma la potenza di lavorare con le mani, sperimentare, fare e disfare, sovrapporre, incollare, sporcare, graffiare, annusare, godere e dispiacersi… tutto questo ho capito fin dal primo tentativo, che poteva arrivare solo in questo modo. 

La mia pittura può essere definita informale, ma è un informale sicuramente non gestuale; ha bisogno di una preparazione di fondo su cui poi lavorare, stendendo il colore in modo che non sia percepibile la pennellata.

E il meccanismo è lo stesso, sia quando i lavori comportano l’uso di carta e colla mescolata al colore sia quando lavoro in modo più canonico: attraverso numerosi passaggi e sovrapposizioni di materiali e colori, arrivo a quell’equilibrio formale che mi consente di considerare “chiusa” un’opera.



“In brevissimo tempo Michele Berlot è riuscito a fissare una cifra stilistica tutta sua, non assimilabile ad altre esperienze, dando sfogo a questo suo innato senso del colore”

“Nelle sue opere il colore evoca una profondità che non è prospettica ma ottenuta attraverso la luminosità dello stesso”

“Il colore nella sua pittura ha sempre una qualità generativa. Le forme che vediamo, infatti, nascono dal colore stesso e mettono in moto le nostre qualità percettive, che ci guidano ad intravedere un qualcosa che noi già conosciamo. Passiamo così, in una continua evoluzione, da una dimensione fluida e liquida, dove tutto cambia, a una solida, che ricorda il ghiaccio e la pietra” (Note critiche di presentazione ad una mostra)

“Attualmente la sue ricerca si orienta sull’astrazione cromatica, ottenuta stratificando il colore sulla tela con venature che ne accentuano la profondità luminosa. L’ispirazione nasce spesso dalla natura per essere poi trasfigurata in chiave lirico-astratta” (Nota critico-biografica all’interno del CAM n° 53)

Daniela Pronestì, storica e critico d’arte, curatrice di eventi artistici



80×120, acrilico su tela, 2021

TORMENTO ED ESTASI, acrilico e smalto su tela, 2017

STARGATE, 80×80, tecnica mista su tela, 2020

SONO SOLO GRAFFI, 60×60, acrilico su tela, 2021

SIC MUNDUS CREATUS EST, 80×120, acrilico su tela, 2021

NELLA SVOLTA DEI TEMPI, 100×100, acrilico e olio su tela, 2020

NE’ VINCITORI NE’ VINTI, 60×60, tecnica mista su tela, 2019

LANDSCAPE, 100×100, tecnica mista su tela, 2020

IL TEMPO PERDUTO, 100x100, acrilico su tela, 2020

IL TEMPO PERDUTO, 100×100, acrilico su tela, 2020

CHAOS THEORY, 60×60, tecnica mista su tela, 2017

BURN, 90×90, acrilico su tela, 2021

ANIMA MUNDI, 110X160, tecnica mista su tela, 2019


  • gennaio 2012, Firenze, Palagio di Parte Guelfa, collettiva curata da Senzalimite Arte;
  • giugno 2013, Colle Val d’Elsa, “FLOATING”, personale nella galleria Senzalimite Arte, a cura di Angela Corsi;
  • agosto-settembre 2013, Anguillara Sabazia (Rm), II edizione di “E…STATE CON L’ARTE”, collettiva a cura dell’Associazione Culturale Artistica “I Colori per la Vita”;
  • 7 settembre 2013, Colle Val d’Elsa, sezione Street Art di “Libera Collarte 2013”, a cura della galleria “Senzalimite Arte”;
  • 30 ottobre / 10 novembre 2013, Castellammare di Stabia, “I Mostra d’Arte Internazionale di Selezione per la Biennale di Roma 2014”, rientrando tra i selezionati;
  • 21-28 marzo 2014, Chieti, Museo C. Barbella, “I Edizione del Simposio Internazionale di Arte Digitale”;
  • marzo/aprile 2014, Siena, Palazzo Sergardi, “CRIMEN. LESA REALTA’. Tre iperrealisti ed un architetto metropolitano attentano al quotidiano”, collettiva curata da Luca Lanfredini;
  • 26 aprile / 13 maggio 2014, Firenze, galleria Simultanea Spazi d’Arte, “UNEXPECTED WINDOWS”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 29 maggio / 30 luglio 2014, Colle Val d’Elsa, collettiva nella galleria Senzalimite Arte, “CRIMEN. ARTATWORK”, a cura di Angela Corsi;
  • 10-30 luglio 2014, Firenze, collettiva nella galleria Merlino Bottega d’Arte, “ACTION. Dall’astrattismo all’informale nell’età contemporanea”;
  • 15-24 novembre 2014, Firenze, collettiva nella Limonaia di Villa Vogel, “ASTRATTISMO D’AUTUNNO. Mostra d’arte contemporanea”;
  • 19-29 gennaio 2015, Firenze, collettiva nella galleria Merlino Bottega d’Arte, “DECOSTRUZIONE FIGURATIVA”;
  • 31 gennaio / 10 febbraio 2015, Firenze, collettiva nella galleria Merlino Bottega d’Arte, “QUATTRO ELEMENTI”;
  • 14 febbraio – 3 marzo 2015, Firenze, collettiva nella galleria Mentana a cura di Artexpertise, “TRASCENDENZE CROMATICHE”;
  • 9-19 aprile 2015, Firenze, collettiva nella galleria Merlino Bottega d’Arte, “ACTION! Dall’astrattismo all’informale”;
  • 16-28 aprile 2015, Firenze, galleria Simultanea Spazi d’Arte, “NELLO SPAZIO E NEL TEMPO DI UN SOGNO”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 12-22 maggio 2015, Firenze, collettiva nella galleria Merlino Bottega d’Arte, “BIANCO NERO MONOCROMIE”;
  • 3-16 luglio 2015, Torino, mostra internazionale collettiva di arti varie presso Villa Amoretti, “ARTE MODA E MUSICA” a cura di Nikolinka Nikolova;
  • 11-12 luglio 2015, Castello di Travo (Pc), mostra collettiva d’arte contemporanea, “IMPREVEDIBILE”, 5 artisti a confronto;
  • 18 maggio / 18 settembre 2015, Milano, selezionato al Concorso artistico “QUALITY CCUP EXPO 2015 – LE QUALITA’ DELLA CINA” ed esposto all’interno del Padiglione CCUP all’Expo di Milano 2015, a cura dell’Associazione Culturale Qualitaly e del China Corporate United Pavilion (menzione di merito e medaglia di bronzo);
  • 19-30 settembre 2015, Castellammare di Stabia, “II MOSTRA D’ARTE INTERNAZIONALE DI SELEZIONE PER LA BIENNALE DI ROMA 2016”;
  • 9-21 novembre 2015, Firenze, galleria Simultanea Spazi d’Arte, “ROSSO FISSO”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 15 dicembre 2015 / 6 gennaio 2016, Firenze, galleria Simultanea Spazi d’Arte, “ARTISTI IN SIMULTANEA”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 9-24 gennaio 2016, Reggio Emilia, Chiostri di San Domenico, “L’IMPREVEDIBILE ATTIMO QUOTIDIANO – Frammenti del presente già passato”, mostra di arte contemporanea;
  • 7-25 aprile 2016, Municipio di Stoccarda, “IMPREVEDIBILE”, mostra di arte contemporanea, organizzata dall’Istituto Italiano di Cultura;
  • 21 maggio / 3 giugno 2016, Firenze, collettiva nella galleria d’Arte Mentana a cura di Artexpertise, “ARTE & COLLEZIONISMO 2016”;
  • 11-23 giugno 2016, Siena, Palazzo Sergardi, “SPLENDIDO CONTRASTO”, collettiva del Gruppo Imprevedibile;
  • 24 giugno / 20 luglio 2016, Firenze, Gadarte, “AVANGART, 1° rassegna d’arte d’avanguardia e arti innovative”, collettiva a cura di Denis Bartolini;
  • 15 luglio / 15 settembre 2016, Villa Pallavicino a Busseto (Parma), VERDIREMIX ARTE, all’interno del Verdi Remix Festival, collettiva a cura di Roberto Panizza;
  • 10-11 settembre 2016, Golena di Luzzara (Reggio Emilia), “INDACO, FESTIVAL 432 HZ”;
  • 26 novembre / 31 dicembre 2016, Firenze, collettiva nella galleria Puzzle, “PUZZLE 3rd ANNIVERSARY”;
  • 16 dicembre 2016 / 5 gennaio 2017 Firenze, galleria Simultanea Spazi d’Arte, “ARTISTI IN SIMULTANEA”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 28 dicembre 2016 / marzo 2017, San Marino, Spazio Onofri 57, “FLOATING”, personale a cura di Andrea Della Balda;
  • 10-20 gennaio 2017, Firenze, OnArt Gallery, “LANDESCAPE”, collettiva a cura di Romina Sangiovanni;
  • 8-20 aprile 2017, Bologna, Galleria d’Arte Wikiarte, “IL VIAGGIO DELL’ARTE”, collettiva;
  • 19-27 maggio 2017, Milano, 809 Art Gallery, “IMMAGINE E MATERIA-VISIONI CONTEMPORANEE”, collettiva a cura di Francesca Callipari;
  • 2-24 settembre 2017, San Marino, “COLLECTIV’ART”, collettiva nello Spazio Onofri, a cura di Andrea Della Balda;
  • 5-9 ottobre 2017, Palazzina di Caccia di Stupinigi (Comune di Nichelino – To), “ARS INOGNITA – Rassegna promotrice per una Biennale degli Artisti”, collettiva a cura di Qualitaly;
  • 27 ottobre / 12 novembre 2017, Piacenza, Palazzo Farnese, “SPLENDIDO CONTRASTO”, collettiva del Gruppo Imprevedibile, a cura del Prof. Giorgio Grasso;
  • 2-16 novembre 2017, Torino, Ecomuseo urbano, “ASTRATTISSIMA”, collettiva con un artista per ciascuna Regione italiana;
  • 7-20 dicembre 2017, Firenze, galleria Simultanea Spazi d’Arte, “ARTISTI IN SIMULTANEA”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 7 dicembre 2017 / 21 gennaio 2018, Monza, Serrone della Villa Reale, “ANGELI E ARTISTI”, collettiva a cura di Daniele Crippa;
  • 4-14 febbraio 2018, Campi Bisenzio, Teatrodante Carlo Monni, “PREMIO MOSTRA COLLETTIVA – PRIMA EDIZIONE PREMIO CLAUDIO CAVALLINI”, a cura dell’Associazione Culturale Operarte;
  • 14-22 aprile 2018, Novara, Castello Sforzesco, “17° PREMIO ARTE CITTA’ DI NOVARA”, secondo classificato sezione “PITTURA”;
  • 25 maggio / 4 giugno 2018, Mantova, galleria M.A.D., “FORME E COLORI NELLO SPAZIO”, collettiva a cura di Lucia Ghirardini;
  • 26 maggio / 3 giugno 2018, Reggio Calabria, Castello Aragonese, “IL GUSTO DELL’ARTE”, collettiva a cura di Vincenzo Scardino;
  • 28 giugno / 10 luglio 2018, Firenze, galleria Simultanea Spazi d’Arte, “SOTTO IL SOLE GIAGUARO”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 13-25 ottobre 2018, Firenze, Società Delle Belle Arti, Circolo degli Artisti “Casa di Dante”, mostra collettiva dei finalisti del PREMIO INTERNAZIONALE D’ARTE “OMAGGIO A STEFANO USSI”;
  • 10-27 novembre 2018, San Marino, Spazio Onofri 57, “IMMAGINA”, personale a cura di Andrea Della Balda;
  • 1 dicembre 2018, Firenze, Salone dei Cinquecento in Palazzo Vecchio, esposizione dei premiati della “XXXVI EDIZIONE DEL “PREMIO FIRENZE”;
  • 15-30 dicembre 2018, Piacenza EXPO, “#STREET – Basquiat, la Street Art Italiana e le Visioni Metropolitane”, collettiva a cura di Giorgio Grasso;
  • 21 dicembre 2018 – 8 gennaio 2019, Firenze, galleria Simultanea Spazi d’Arte, “ARTISTI IN SIMULTANEA”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 30 aprile 2019, San Marino, Palazzo Graziani, esposizione personale in occasione dell’evento pubblico per la presentazione del libro “COLOR – Viaggio dentro l’opera d’arte”;
  • 18-26 maggio 2019, Novara, Sala Accademia Complesso Monumentale Broletto, NOVERA, collettiva a cura di Vincenzo Scardigno;
  • 1-9 giugno 2019, Benevento, Rocca dei Rettori, “SINERGIE – SACRUM ET PROFANUM”, collettiva a cura di Antonella Botticelli;
  • 9-16 giugno 2019, Novara, Castello Sforzesco, “18° PREMIO ARTE CITTA’ DI NOVARA” e mostra vincitori edizione 2018;
  • 20 giugno – 5 luglio 2019, Bergamo, Sala Manzù, “CREATIVI PER NATURA”, collettiva a cura di Rita Caracausi, Alessio Girella, Andrea Colombo;
  • 6-14 luglio 2019, Fiorenzuola (Pc), Ex Macelli, “ATLANTIC ECHOES – CONTEMPORARY ART SHOW”, collettiva;
  • 15-29 luglio 2019, Firenze, galleria  Simultanea Spazi d’Arte, “SUMMERTIME”, collettiva a cura di Daniela Pronestì e Roberta Fiorini;
  • 7-18 settembre 2019, Conversano (Ba), Castello dei Conti d’Acquaviva d’Aragona, “FACE’ARTS”, collettiva a cura di Mary Sperti;
  • 30 novembre 2019, Firenze, Società Delle Belle Arti, Circolo degli Artisti “Casa di Dante”, mostra collettiva dei finalisti della BIENNALE DI GRAFICA “L’UOMO E LA MACCHINA”;
  • 7 dicembre 2019, Firenze, Salone dei Cinquecento in Palazzo Vecchio, esposizione dei premiati della “XXXVII EDIZIONE DEL PREMIO FIRENZE”;
  • maggio 2020, “I CONTEST FACE’ ARTS #ripARTiamo”, collettiva online a cura di Mary Sperti;
  • 26 aprile / 10 maggio 2021, Udine, galleria ARTtime, “ASTRATTO O INFORMALE?”, collettiva a cura di Luca Franzil;
  • 28 maggio / 3 giugno 2021, Roma, galleria Medina, “REST-ART”, collettiva a cura di Simultanea Spazi d’Arte;
  • 19-27 giugno 2021, Bellagio (Co), Torre delle Arti, “FACE’ ARTS 2021”, collettiva a cura di Mary Sperti;
  • 16 luglio – 5 settembre 2021, Sorrento (Na), Villa Fiorentino, “V° edizione SYART FESTIVAL – INTERNATIONAL MEETINGS OF CONTEMPORARY ART”, a cura di Rossella Savarese


  • menzione di merito e medaglia di bronzo del Concorso artistico “QUALITY CCUP EXPO 2015 – LE QUALITA’ DELLA CINA” – Milano, Padiglione CCUP all’Expo, maggio/settembre 2015 – con “RED CHINA”;
  • vincitore della II Edizione del Premio “NOTT’ARTE” – San Marino, agosto 2017 – con “INTO THE WILD”;
  • secondo classificato sezione Pittura del “17° PREMIO ARTE CITTA’ DI NOVARA” – Novara, castello Sforzesco, aprile 2018 – con “STARDUST”;
  • finalista nella sezione Pittura del PREMIO INTERNAZIONALE D’ARTE “OMAGGIO A STEFANO USSI” – Firenze, circolo degli Artisti Casa di Dante, ottobre 2018 – con “L’ULTIMO APPRODO”;
  • medaglia di bronzo per la sezione Pittura della XXXVI EDIZIONE DEL “PREMIO FIRENZE” – Firenze, Salone dei Cinquecento in Palazzo Vecchio, dicembre 2018 – con “ATTRAVERSARE SPAZI E SPAZI”;
  • finalista nella sezione Grafica Digitale della BIENNALE DI GRAFICA “L’UOMO E LA MACCHINA” – Firenze, Circolo degli Artisti Casa di Dante, novembre 2019;
  • fiorino d’argento per la sezione Pittura della XXXVII EDIZIONE DEL “PREMIO FIRENZE” – Firenze, Salone dei Cinquecento in Palazzo Vecchio, dicembre 2019 – con “L’ULTIMA LUCE”;
  • vincitore per la sezione Pittura Astratta, del “I CONTEST FACE’ ARTS #ripARTiamo” a cura di Mary Sperti, giugno 2020 – con “QUANDO PIOVEVA FORTE IL TEMPO SI FERMAVA”;
  • 4° posto ex aequo “PREMIO ARTISTA D’ITALIA” con “L’ULTIMO APPRODO”, luglio 2021


  • “Mood” (numero di maggio/giugno 2013), e-book magazine, Floating-Progetto grafico;
  • “Revolution”, periodico trimestrale, settembre 2017;
  • Segnalazione Critica all’interno del n° 53 CAM (Catalogo Arte Moderna Mondatori);
  • “Charter”, periodico d’arte contemporanea;
  • “COLOR – Viaggio dentro l’opera d’arte”, AIEP Editore s.r.l., 2019


cell. 3381959988;


Quaranta Giorni and Cuarenta Noches by Carolina Correa

Carolina Correa

Quaranta Giorni and Cuarenta Noches

Quaranta Giorni and Cuarenta Noches will feature Carolina Correa’s portraits of Italian-Argentinian migrants. The exhibit tells the story of migration through the eyes of a direct descendant. The featured individuals are relatives of the artist and her friends, the most important being her great-grandfather Dominico Vitulano. The portraits represent the period between WWI and WWII in which Italians immigrated to Argentina to seek refuge from war-induced poverty. The Italian-Spanish title Quaranta Giorni and Cuarenta Noches translates to “40 days and 40 nights” and is a direct reference to the amount of time it took to travel by boat from Italy to Buenos Aires. Each portrait is accompanied by the original photo on which the portrait is based and the year when the subject immigrated to Argentina. Old luggage and replicated objects of those featured in the portraits will be displayed alongside the paintings for a deeper communication of the journey experienced. The exhibit represents not only stories of migration but also family, poverty, memories, and a sense of identity. 


Artist Bio

Carolina Correa is a painter from Buenos Aires, Argentina living in Florence, Italy. She has painted her entire life, but originally studied fashion design at the University of Buenos Aires. She took art classes while she lived in Argentina, and when her studies ended in 2016 she decided to move abroad to keep practicing, finding herself in Florence. Here, she took a class on oil painting and eventually made the decision to move here full time. While studying in Florence she discovered the palette knife method of oil painting, which has remained her preferred medium ever since. Correa is inspired by pop art and the use of many colors. She works and teaches in her own studio where she partners with local artists. In 2020, her paintings were featured in a cocktail book entitled “Animal Kingdom”, from the Atrium Bar in the Four Seasons Hotel in Florence.  She aims to share her artistic passion with others, with her personal endeavors, commissioned pieces, and techniques. 


Doménico Vitulano
60cm x 50cm

Oil painting with palette knife on canvas

Born in Molfetta, Province of Bari, Puglia. 
Disembarked from the ship Augustus in Buenos Aires on 13 April,1910, at the age of 24.

Ema Celestina Pierina Birchner
60cm x 50cm

Oil painting with palette knife on canvas

Born in Piemonte on 24th of September 1899. Disembarked in Buenos Aires on the 1st of October,1923, at the age of 24.

María Mastroianni
60cm x 50cm

Oil painting with palette knife on canvas 

Born in Caserta, Campania
Disembarked from the ship Duilio in Buenos Aires 
On the 7th of September, 1930, at the age of 5 years.

Doménico Amantea
60cm x 50cm

Oil painting with palette knife on canvas

Born in Gioiosa Ionica, Calabria. Disembarked from the ship Etna in Buenos Aires. On the 10th of November, 1948.

Marietta Cosentino
60cm x 50cm

Oil painting with palette knife on canvas 

Born in Acri, Province of Cosenza, Calabria. Disembarked from the ship Atlanta in Buenos Aires. On the 3rd of February, 1928, at the age of 3 years.

Urbano Petroselli
60cm x 50cm

Oil painting with palette knife on canvas 

Born in Macerata, Le Marche. Disembarked from the ship Guilio Cesare in Buenos Aires. On the 1st of July, 1927, at the age of 4 years.

Vincenzo Re – Giovanna Incremona
60cm x 50cm

Oil painting with palette knife on canvas 

Born in Ragusa, Sicilia.
Disembarked in Buenos Aires on the 12th of January, 1884. They were married in Rosario, Province of Santa Fe – Argentina.

Angelo Salerno
60cm x 50cm

Oil painting with palette knife on canvas

Born in Acerno, Province of Salerno, Campania. Disembarked the ship Duca di Genova in Buenos Aires  on the 15th of November, 1913, at the age of 30 years.

Santo Picco
60cm x 50cm

Oil painting with palette knife on canvas

Born in Genova on the 26h of March, 1866.
Disembarked in Buenos Aires from the ship Caffaro on the 17th of June, 1892, at the age of 25

Arte diffusa

Arte Diffusa

Gianni Mannocci e Caterina Perrone

Nelle mostre precedenti abbiamo descritto i nostri lavori come messaggi narrativi che tendono a diffondere la cultura visiva attraverso consapevoli citazioni. Si raccontano episodi veri o verosimili del mondo dell’arte, tecniche, scoperte visive, ossessioni di artisti di cui si citano le opere, fingendo a volte incontri o avvenimenti immaginari. È un mondo di sogni in cui un’opera si trasforma in un’altra. In questo tipo di lavori lo stile riconoscibile è solo il metodo narrativo. L’intento finale è ottenere “arte diffusa”. Prediligiamo oggetti d’uso, che si modificano perché anche chi li vive entri nel processo di creazione. Così avviene anche in questa mostra, in uno spazio molto interessante per noi, una scuola in cui si apprendono e sviluppano non solo tecniche originali di preparazione del cibo, ma anche sensibilità e gusto nella forma della presentazione. Percorso che prevede una cultura complessa e profonda dell’accoglienza. Questa per noi è l’arte diffusa, che entra nella vita di ogni giorno attraverso canali differenti, culture positive che non sono solo arte ma, sostenuti dall’impegno e dalla fiducia nella ricerca, divengono espressioni artistiche che si diffondono come in una epidemia. Positiva.

Gianni Mannocci e Caterina Perrone vivono e lavorano a Firenze. Gianni ha operato nella ceramica negli anni ‘70 , nel design negli anni ’90. Dal 2000 insieme a Caterina realizza oggetti di design d’arte, in cui progettazione, scultura e pittura si integrano con la ricerca di nuovi materiali e tecniche decorative e visive. Caterina si è formata in una Accademia e si esprime principalmente nella decorazione pittorica. Hanno esposto in mostre d’arte e design a Firenze, Venezia, Padova, Milano. L’ultima importante esposizione, nel 2019, è stata a Villa Barbaro di Maser, dove, dialogando con le prospettive accelerate di Palladio e le anamorfosi di Veronese, hanno realizzato all’interno della villa l’immagine virtuale di una fontana, abitata dagli animali degli affreschi di Veronese.



blu e rosso


omaggio a Grau-Garriga

omaggio a Grau-Garriga





blu e rosso