A road map of Italy from the 1970s, found inside a family car after its final use. The map still carried the route repeatedly traced between northern and southern Italy: a long-distance journey connecting two places across approximately 1380 km.
The surface of the map has been covered in silver wax traditionally used for gilding and restoring frames, obscuring the surrounding territory while leaving visible only the marked line of travel. Through this solid silver field, the geography around the route recedes into a secondary presence, almost functioning as a frame to the persistence of the journey itself.
What remains is less a navigational object than the trace of a repeated passage — a movement shaped by distance, return, separation, and continuity. The route persists as a physical inscription of a relationship to place capable of altering the course of a life.
This body of work brings together large-scale ink prints and ceramics, structured around the repeated use of a found tire. Displaced from its function, the tire operates as both tool and subject—carrying its own history while producing new inscriptions through contact. Rolled and inked across paper, it generates a graphic language that resists uniformity. Each print registers a passage—pressure, slippage, rhythm—yet also its limits. The mark holds both movement and its failure, where continuity falters.
The ceramic works extend this logic into three dimensions, holding impressions that register weight, touch and duration. Across both mediums, the works operate as sites of transfer, where traces emerge as partial, unstable, and contingent. Attending to marks that typically remain peripheral—the traces of everyday transit—the work forms a quiet, incomplete archive of presence. Not every passage resolves; not every trace holds. The tire becomes a drawing device that makes visible both inscription and its absence. Resisting monumentality, the work remains grounded in repetition and residue, where the trace operates as record, interruption, and return.
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