I was born in Bolzano in '96 and since I was a child I have always

found it more natural to express myself through images rather than

aloud with words. I was scribbling under the kitchen table,

to the delight of my parents who fortunately discovered it

only when the table was now to be thrown away.

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My natural propensity for artistic creation has led me to exclude all other paths and therefore to attend the Artistic high school G. Pascoli of Bolzano, address Graphics Art initially and then Figurative arts when it was introduced two years after I was there. The high school essay is of little importance to me, but among other arguments I chose to write about Wassily Kandinsky; thinking about it in retrospect I think I was probably already fed up with all that hyper-realistic figuration required for pass high school. 
Despite this, in the first months of the Academy (2015), I portrayed the environment that surrounded me, the atelier, and its "inhabitants". Slowly I became interested in internal, or rather interior, places. Starting from landscapes of mountains which I drew drawing from the memory of my origins, passing through dreams of (un)inhabited rooms, parties and environments, always environments, more or less real; arriving at the total schema deconstruction and to the exteriorization of thoughts-images through streams of consciousness for a result that is anything but recognizable with respect to its origin.

The studies at the Venice Academy of Fine Arts they concluded with the final exposition of the thesis in March 2019. Mine, entitled "Scarabocchi - Notes and afterthoughts" focuses around the concept of deconstruction and new formation of one's own expressive language. 
That old thesis exposes some aspects of my pictorial research that are still the core of my creative process today. 
 

Themes such as the muddle, the serendipity, the use of writing as a means of non-communication; the process of deconstruction and construction of the image, the doodle, the indecipherable that becomes an abstract image. 
If I had to find a common thread in what I do I would say it is the incoerence, because there is no default method. Sometimes I start from photographic images, snapshots taken in moments of tedium, conviviality or environments. I keep some shapes, lights and shadows that interest me and I often alter the colors. Other times, however, the image originates in my head (reflections, dreams, memories), and is transposed onto the support in a stream of consciousness.
In any case, I heavily rely on words and improvisation, trying however to avoid automatisms. By deconstructing the patterns and doodling, for reorder at a later time, and then madly deconstruct again. Making a reasoning external to the mind, directly on the sheet/canvas, as if it were an extension of it.

The materials used are often synthetic, such as resins, acrylics, sprays and markers, but also the classic oil colors, preferring however the mixed and experimental technique. The supports vary in the same way: from paper to canvas, passing through boards and dyed fabrics, arriving at translucent fabrics and plastics. I'm always at search for new stimuli for expression and for me this is equivalent to experimenting with the use of the most disparate materials. 

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Starting from the experience in the Academy at the Atelier F by Carlo di Raco (2015-2019) and continuing with Summer Workshops - Open Laboratory in Forte Marghera, my poetics developed working in different artistic and territorial contexts. After completing my studies, I painted sometimes in a room and sometimes in the attic of a shared apartment with artists of the Atelier F in Cannaregio, VE, until summer 2020. September-October I was a guest in a private house in Cecina, LI, having a large available empty room to paint in lonely. Difficult to maintain continuity in a cyclical activity which I have discovered to be painting for me.

So after a semester and perhaps more of an interruption in which I occupied myself with something else, I resumed painting in my bedroom in the district Casanova, BZ, flanked by a guitar, my only companion in a city that I feel alien to me. In autumn 2021, I returned to Venice, this time on the island of Giudecca, I share the apartment with artists of Atelier F and I dedicate myself to public and participatory art projects, putting painting on hold again. In November 2022 I finally find refuge in Drin's atelier, BZ, a co-working space where I can mend the pieces of my shattered pictorial research and I also have the opportunity to confront students from other fields than mine.

Currently I'm back to live in my childhood's home, painting in that chamber which used to be my parents' bedroom before their divorce.

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> Tralucente 2023, first solo exhibition at Okgo Art Gallery (BZ)
> Duoccia Live 2022-23, itinerant participatory installation by Elisa Raso (VE, BZ, ongoing)
> the Urban Goose Game 2021, widespread-collective game by Elisa Raso, winning project of WS Call 2021 (BZ)
> Doppelgänger 2019, collective exhibition curated by the artists themselves (BZ)
> Ofrenda Dia de Muertos 2019, collective exhibition, participatory artwork (VE)
> Dentro l'occhio della mosca 2018, collective exhibition curated by Maya de Martin Fabbro, organized by the artists themselves (VE)
> Forte Marghera Open Workshop 2016-19, summer workshops and final group exhibitions curated by Carlo di Raco and Martino Scavezzon (VE)