A central component of my practice is collaboration with paleontologists, researchers, and institutions. I have contributed to projects involving museums, scientific dissemination, and reconstruction pipelines, where visual accuracy is essential. These collaborations extend beyond illustration as a service, becoming part of a broader interpretative process in which images function as tools for hypothesis testing and communication.

My work has also been featured in multiple scientific publications, where my illustrations are used to support peer-reviewed research. These include contributions to journals such as PeerJ, Current Biology, iScience, Biology Letters, and Papers in Palaeontology, among others. The integration of my visual material within these contexts reflects a level of scientific validation, as the illustrations are embedded in analytical frameworks dealing with topics such as dinosaur macroevolution, biomechanical adaptation, phylogenetics, and fossil record interpretation.

In parallel, I actively participate in exhibitions and institutional contexts. My work has been displayed in recurring events such as the Italian Paleoart Prize (Montevarchi, 2021–2025), as well as in international scientific exhibitions like the EAVP 2025 Paleoart Exhibit in Kraków. Additionally, I have contributed to museum exhibitions such as “The Hand of Climate and The Hand of Man” (2025–2026), where I produced a corpus of 36 skeletal drawings across 17 species for the Cantonal Museum of Natural History in Lugano, in collaboration with the Milan Civic Museum of Natural History. These contexts require not only visual quality but strict adherence to scientific constraints and didactic clarity.

My exhibition activity also includes contributions to projects involving anatomical interpretation and reconstruction, such as skeletal studies related to taxa like Baryonyx walkeri and other spinosaurids, often in relation to museum displays or educational material.

Recognition within the field is reflected through participation in awards and curated exhibitions, particularly within paleoart and scientific illustration contexts. These platforms function as both validation and benchmarking environments, where work is evaluated in terms of anatomical accuracy, scientific coherence, and communicative effectiveness.

From a research perspective, I maintain a continuous process of independent study. In recent years, I have focused on specific mammalian clades—particularly feliforms—analyzing their osteology and morphological variability. This ongoing investigation feeds directly into my illustration practice, allowing for increasingly precise reconstructions and comparative analyses.

Technically, my workflow is iterative and research-driven. It typically involves:

• collection and critical evaluation of scientific sources

• comparative anatomical analysis (extant vs extinct taxa)

• structural reconstruction (often via 3D support)

• refinement into final 2D visual outputs

This process ensures that each illustration is not only visually coherent, but also anatomically and scientifically defensible.

A defining principle of my work is the prioritization of accuracy over stylistic compromise. While visual clarity and aesthetic quality remain important, they are always subordinate to empirical consistency. Illustration, in this context, becomes a form of visual reasoning—a way to test anatomical plausibility, expose inconsistencies, and synthesize fragmented data into coherent biological models.