Creative Director and artist at RIVA Illustrations, where we translate research into art. I produce comics, illustrations and animations to communicate about research, by creating a bridge between top scientists and professional artists.

I wrote the proposal ERCcOMICS for the 2015 ERC Support Call and worked as a creative director. In collaboration with UPMC, now Sorbonne Université, and La Bande Déstinée, ERCcOMICS created collaboration with top European Scientists and professional artists to produce 18 comics about ERC-funded science, fully available online.

I regularly act as external consultant for reading and evaluating project proposals, in the framework of FET (Future and Emerging Technologies) REA (Reflexive and Inclusive Societies) and CULTCOOP (Digitalisation of the European Cultural Heritage).

My activities at SONY CSL included scientific dissemination, graphic facilitation, web design, graphic design (Springer book series covers, posters, leaflets, other communication supports), video editing, illustrations, articles and proposals writing. 3 Best Video Awards, 2 successful project proposals (Brazyle and FlowMachines Proof of Concept).

I got my PhD in Innovative Technologies at the PERCRO (Perceptual Robotics) Lab, Scuola Superiore Sant'Anna, Pisa, plus one year at UCL (University College London), to perform fMRI experiments with Prof. Semir Zeki. My thesis, entitled "The Illusion of Ambiguity: from Bistable Perception to Anthropomorphism" was a multidisciplinary work at the merging of neuroscience, art and human interaction with technologies. Its objectives were: 1. Review the literature and further investigate, by means of a brain imaging study, which are the mechanisms allowing the illusion of ambiguity in the brain, by proposing a framework of analysis based on different levels of ambiguity; 2. Discuss the concept of the illusion of life, defined as a perceptual phenomenon included into the wider category of ambiguity and caused by intentionality and animacy being hard-wired in the brain (part of that previous knowledge necessary to successfully process sensory inputs); 3. Explore features in behaviour and form which are most likely to trigger anthropomorphism, drawing insights from art, technological applications and cognitive sciences, and focusing on human interaction with artificial creatures.