the artistic phases

First cycle (1990): black brush on white with accents of red and gold. An instinctive, fluid gesture where line searches for form and rhythm. The memory of paternal pastry decoration re-emerges in raised, piping-like surfaces.

A study of body and color suspended between light and shadow. Female figures in transformation engage tension and dynamism. Warm, cool tones alternate in a dialogue of contrast and harmony.

Flat bodies and everyday objects share equal weight with empty space. Pure colors and sharp contours build essential balance. Without faces or detail, line becomes structure and breath.

A journey between mind and corporeality guided by movement. Steering wheel and dashboard become spiritual symbols. Poetic texts on the reverse open toward Qabbalistic thought and expanded iconography.

Mirrors and consoles emerge from a drawing. Recognizable geometries and lacquered surfaces define character and identity. In White and Black is Red, shared forms connect chairs and table in a concept of uncompromising vitality.

Obsolete television sets are emptied of their cathode core and reconfigured as hollow bodies. The screen becomes painterly surface: from device that commands vision to object that demands conscious looking.

Small staged compositions where colored forms interlock, defined by white outlines. Mainly painted wood, playful yet precise; some works extend into outdoor versions.

Eleven diamond-shaped relief panels transform a balustrade into narrative. Black-and-white recall vinyl covers and film stills. Stylized figures celebrate 1950s American rock’n’roll energy.

Twenty-two carved wooden icons inspired by the Major Arcana. Accompanied by poetic verses, the project extends into performance, where card reading becomes a ritual encounter.

Famous and anonymous faces coexist without hierarchy. A nine-part self-portrait affirms identity as multiplicity. The name MILLAR pulses within the collective.

Undulating flags constructed as puzzles explore shifting identities. Historical events and symbolic language intertwine with migration and belonging.

Large colored mouths become thresholds between interior and world. Short English rhymes observe daily life with irony. Color and word transform the smile into thought.

Daily dawn photographs over Lake Garda become luminous postcards of renewal. A recurring mouth appears as a kiss offered to the new day.

The tree becomes a metaphor of life’s seasons. Bloom and loss coexist. The title ironizes the desire to “restore” what naturally changes.

Crossword logic meets the Gospel of John (1:1). A geometric symbol forms the nucleus; intersecting words radiate outward, constructing semantic architecture.

Iconic cinematic kisses suspended before or after contact. Digital interventions create emotional thermographies—energy of desire rather than bodily heat.

Hybrid trees printed and engraved on plexiglass intertwine species, memory and desire. Nature is not represented but reinvented.

Three projects—CD and vinyl—interweave writing and performance, from early lyrical texts to cabaret homage and big band compositions.

The body becomes artwork. Alter egos, ritual and technology define a trajectory of continuous transformation.

Engraved irises evoke crystalline depth. Red, blue and green define three modes of vision. The eye becomes a symbolic lens.

“Being displaced from the center” as the human condition. Magnetic discs form shifting circular worlds. A participatory performance leaves visible scars—a metaphor of continual realignment.

One year of bread sculptures created and gifted. Recipients must consume them. Art becomes at once nourishment and relational gesture.

Bread sculptures preserved in vitrines as contemporary reliquaries. Mythology, paternal memory and devotion converge in symbolic preservation.

Tribute to women who forged paths—Billie Holiday, Camille Claudel and others. Black ink drawings generate hybrid identities between self and other.

Iconic monuments detach from their foundations and begin to dance. Architecture transcends immobility, becoming fluid and visionary.

A journey into the origin of matter. Through close-up images, the act of kneading becomes a ritual: flour, milk and eggs flow like landscapes in formation. The rising dough recalls a breathing womb, while from the artist’s hands emerge the bread women, symbols of creation and nourishment.

Seven days, seven virtues, seven bread-women. Gift and responsibility converge in a symbolic call for care of the Earth.

Works are offered to members of the artist’s daily community. Selection becomes ritual and shared image—exchange over possession.

A performative video where breath becomes the force of animation. The artist inflates plastic bodies, activating them through respiration. Three figures appear as contemporary Three Graces, suspended between irony and classical reference. The work reflects on artifice, desire and the fleeting nature of the constructed body.

Marble resin surfaces form geometric compositions inspired by the Tangram. A free reinterpretation for the Byblos Art Hotel.

Tarot sets, design pieces, accessories and the Tattoo Car translate symbolic imagery into lived presence.