As a compulsive hoarder of apparently unrelated things, I organize and re-elaborate my collections into archives, which subsequently get deployed into installations and sculptures. The nature of this accumulated material stems from an interest in retail and social anthropology and science fiction. The fusion of these leads to a series of works that analyse our relationship with consumption. Fictional genres, such as the Debrocks, offer themselves as a new flora born from a geology of lifestyle.

Overview of solo show Infinite Present @ Baert Gallery, 2017. © Photograph Joshua White.

The Infinite Present is my new non-linear modus operandi, which I adopted in 2016.


Description de l'Égypte, 2013 (detail). © Photograph  Delfino Sisto Legnani.

Inspired by the overblown luxury of the tiger economies—super displays, department stores and retail anthropology—the Campscapes are child-scale, flat-pack architectural model-like assemblages.


Debrock 32, Art Australia magazine and glue, 30 x 28 x 28 cm. © Photograph Alex Wisser.

The Debrocks have evolved from a previous line of enquiry: the Wallpaper Sculptures. The aforementioned are three-dimensional structures created from paper.


Momie de Femme II, 2013 (edition of 2 + 1 ap). C-print on archival fuji matt paper, 110 x 83 cm. ©Ludovica Gioscia.

This series stems from the layering of two collections: the make-up advertisement and the magazine clippings archives, which span more than fifteen years. The result of the collision between the two archives is the Soft Power portraits. In these, inverted beauty and the fascination with destruction applied to the body, as described in J.G. Ballard’s novel Crash, are forced to collide and form a romantic alliance.


Memphis et Environs II, 2013 (edition of 2 + 1 ap). C-print on archival fuji matt paper, 64 x 72 cm. ©Ludovica Gioscia.

This photographic series is a very recent development in my practice and arose from experimentation whilst making bodily-like excretions in plaster for the Incorporation series.


Papered Portraits, 2009 (solo show @ The Warhol). Hand printed, custom and original Warhol wallpaper and glue, dimensions variable. © Photograph Jessica Milberg.

Like the Debris series, the Wallpaper Sculptures are a derivate of the Giant Decollages: sections of the wallpaper installations are being forced into a further mutation as they are collapsed and crunched into shape.


Momie de femme et d'homme, 2013 (detail). © Photograph Michele Panzeri.

Made out of battered Ikea table tops the Incorporation series was born in 2013.


Bomarzo Vertigo, 2010, Fundacio Miro', Barcellona. Hand printed and commercial wallpaper, dimensions variable. © Photography by Pere Pratdesaba.

The Giant Decollages are architectural interventions created by layering numerous hand printed and custom wallpapers that get subsequently ripped back in order to reveal the strata underneath.


Vomitorium, 2009. © Photography Michele Panzeri.

The Vomitoria are an ongoing series of self-vomiting wooden sculptures that I began in 2009. They are inspired by the bingeing practices of the Romans who used to overeat and then relieve themselves in order to eat more.


Exfoliate, Cleanse & Tone, 2011. © Photograph Michele Panzeri.

For years I have been collecting all sorts of things that help me unravel our complex relationship with consumption. I organize my hoardings into archives, each one of them focusing on a specific topic or research.


Pan-Stack, 2012 (part of Product Placement @ Angus Hughes Gallery). Screenprinting ink on cardboard, 300 x 75 x 75 cm. © Photograph Michele Panzeri.

This section hosts works that currently do not belong to a series.