Hi! I’m an artist based in Milan, Italy working in sensory ecology and the atmospheric arts: colour, time, breath, memory, and sky, as synthesized by the anthropologist Tim Ingold.1 My creative practice draws from a background in biology, semiotics, and computer science in addition to the arts to juxtapose human and non-human attempts to process, interact with, and make meaning of the sensory ecologies in which we participate. I myself was born and shaped on the ancestral lands of the Lenape people in present-day New York, in Manhattan (whose name itself continues to echo their understanding of land and symbiosis), and Rockland County.
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I’m a former member of the faculty of Inworks at the University of Colorado, an interdisciplinary initiative dedicated to developing student and community capacities in design thinking, computational thinking, and rapid prototyping towards addressing hard human challenges. I also cofounded and direct Immersive Denver, a community organization seeking since its first educational summit in 2018 to connect the experiential creative community, generate new audiences for immersive, and advance efforts around performer and participant safety, agency, access and inclusion. Passionate about other ways our creative sectors can serve overall community well-being, I’ve been working since 2020 with Majestic Collaborations, in part thanks to the support of Performing Arts Readiness, on developing tools and resources for arts resilience.
I hold a Master of Fine Arts in Emergent Digital Practices from the University of Denver and a degree in Art-Semiotics from Brown University, where I also studied computational biology. Past awards of which I’m particularly proud include my interactive installation Breath Vessels being selected as a finalist and exhibited artwork for the Arte Laguna International Art Prize and my team being chosen as a finalist for the 2017 International Biodesign Challenge at the MoMA in New York for RXN Wristband, a working prototype of a luminescent wearable biosensor.
1. Tim Ingold in “Whirlwind”, The Life of Lines (page 53-59) ↩