Was born in Schio (VI) in 1994. He attended the Arturo Martini Artistic Lyceum in the same city and in 2013 he enrolled in the Brera Academy to study painting. In Milan, he soon became interested in the dynamics of color and, in particular, in the complex chromatic relationships that build up the strictly pictorial image, continuously and analytically observing ancient, modern and contemporary painting.  In 2014 he already began to formulate a hypothesis of individual expressiveness with artistic awareness.  From that year he began to build pictorial works based on specific chromatic agreements, significantly regulating the executive process and thickening the chromatic fabric. Since 2015, he has started some work which evoke virtual devices animated by light pulses. It was the first result of reflections on the essence of painting in relation to today's experience of light.  In the same year, sensing the urgent need to acquire digital images of his work, he began a further path of professionalization in photography.  Being enthusiastic about the possibilities offered by Adobe Photoshop, he deepened the photographic editing and quickly reached the complex color correction processes. The two activities, the primary one as a painter and that of a photographer, come together in a broad vision of the image, also contributing to new interpretations of painting itself and color in digital. In 2017 he obtained the First Level Academic Diploma in Painting in Brera, discussing a thesis about the language of the painters Giuliano Dal Molin, Ignazio Gadaleta, Paolo Iacchetti, Tetsuro Shimizu.  2018 is the year in which he appeared among the artists of points and threads of color in Italian painting from Divisionism to today, a book by Ignazio Gadaleta focused on pursuing theoretical and formal affinities in the evolution of painting by Giuseppe Pellizza in our days. In 2019, again at the Academy of Fine Arts of Brera, he obtained the Second Level Academic Diploma in Painting, with a thesis entitled: Correction and Color Management in Adobe Photoshop for the Reproduction of Works of Art.  He conductsled in-depth research on the logic of seeing in the specific relationship to the current customs of image virtualization. The founding idea of ​​his research is the possibility of combining traditional tools and methods of painting and current contemporary imaginative afferents not exclusively sources from the world of art.  In his work, the search for today's chromo-luministic chords is essential, conceivable only artificially because they are aware of the fluorescence of the lamps and the LEDs of the monitors.  The reflection on making an image is also constant.  According to this point of view, the color is "constructed", that is, defined rationally and gradually in the act of painting, through multiple layers always calibrated throughout the duration of the executive process.  The retinal complexity is invariable, mainly developed through a consistent pictorial fabric and further expanded by the innumerable chromatic interactions that are defined during the development and observation of the painting.  Lately he has been engaged in the search for a soft uniformity, pursued through a color that refuses to contain it in a rigid geometric structure, according to pure expansions and contractions of light.