emory of my roots, in all you are about to read on my work as an artist, goes back to my adolescent years, when I spent much of my free time drawing, mostly the faces of women I imagined, and which I later recognised as the ‘ideals’ of how I would actually have liked to be.

Consciousness grew fairly early in time (not so much about my 'ideal' being as a woman, but more as a pleasure I get from drawing), thanks to the lessons of Maria Dal Conte at high school, then with the teaching of Liliana Barbieri, an artist who graduated at Brera Art Academy; and the meeting and acquaintance of Rossana Bossaglia, a professor of History of Art.

When I said ‘then’ I was referring to a ‘full immersion’ in the depths of an involving time while at Bocconi University, in Milan, where I read foreign languages, specialising in English: a mind opening experience which introduced me to new cultures and new worlds.

Soon after my degree, the clash between the two activities – painting on one side, English studies, applied linguistics and the educational sciences (meanwhile I had become a teacher) on the other - grew inextricable.

One of the basic, peculiar issues that came out of such impact was a deep interest in the workings of the mind and their consequent modes of expression - whether in words or other signs - while in search, as a teacher, for methods and means to make those links explicit.