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Born in Castel del Piano (GR) Italy, 28 02 1948


Artist who uses third millennium techniques and Artificial Intelligence to create his works.


Graduated in Engineering at La Sapienza - University of Rome, he has a 30-year career as manager of large companies and entrepreneur. He has always been committed to the themes of innovation and information technology, and has been awarded the Italian National Innovation Award and the Red Herring 100 Europe. A lover of history and art, for years he has dedicated himself to the creation of digital works of art based on a wide range of supports, such as canvas, wood, glass, silk and ceramics, revitalizing ancient techniques such as mosaics, stained-glass windows with a modern approach and marble inlays. Bruno invented the new styles ©SMARTMOSAIC and ©SMARTSTAINEDGLASS. 



Who I am as an artist 


I am not a member of Artists groups. I am a loner, an atypical artist who tries to synthesize Artificial intelligence and the most advanced technologies with the millennial artistic tradition, a heritage not to be forgotten, but rather to be renewed with new methods and new processes. I will try to include my works in new supply chains that see Architecture as the primary pivot. It is possible to insert the decorative parts in a 3D building model and activate a series of specialized companies for printing on all materials. 



My artistic path 


Mine, like that of many other artists, is a continuous search and challenge to achieve something that expresses one's own thoughts and that manages to communicate an emotion to those who look at the works. I use a modern and innovative approach to achieve them, but the source of everything I do is in my training and in my roots. As an artistic education I am a self-taught, I am an engineer with a past as an industrial manager in the field of Innovation and Information Technology and an entrepreneur with a great passion for art. During my life I traveled a lot, I collected a library of art books, I visited the major museums of the world, I visited churches, monuments, archaeological sites.

As a boy I used to walk around with a block and sketched statues or architectural details, then my profession took over and I didn't  give myself time to cultivate my passions. For some years now, I have finally been engaged in a full-time artistic research. I apply the most innovative techniques, including Artificial Intelligence, with which I have achieved qualitative results that are indistinguishable from the works created manually. In addition to the post-impressionist works created with oil on canvas techniques, I tend to create works composed of materials capable of defying time: mosaic, stained glass, bronze, marble. With the newest printing techniques it is possible to bring back a file at very high resolution in any format and on any material, including glasses resistant to sunlight or porcelain tiles. There is a desire to challenge the time that comes from the emotions that I have continuously felt when I saw works that survived the centuries or even millennia. I love painting and Renaissance frescoes, but the things that particularly struck me were the mosaics, the stained glass windows, the "Opus sectile", the "Commesso Fiorentino", the marble floors, the works of the Cosmateschi.

Great emotions are shown, for example, in the mosaics of Ravenna, the stained glass windows of the cathedrals like those of the Saint Chapelle, the cosmatesque floors of many churches, the works in "Commesso Fiorentino" at the Opificio delle Pietre Dure in Florence, the floors of churches like the Duomo of Siena. The fact of using so many pieces to make a unique work for me is fascinating and I pursue it daily, especially to make portraits trying to capture the soul of people and bringing them back to mosaic or stained glass. I have also coined the terms © SMARTMOSAIC and © SMARSTAINEDGLASS for this type of work. I also find it particularly interesting to pay attention to the context in which a work is viewed.

The approach is completely different if you propose a content on oil on canvas visible from a distance of one meter or if you want to offer the same content on a glass window ten times as large and visible from 30 meters. The colors, the contrasts must change, the backlighting of the sun's rays must be taken into account. You can see an example of this solution regarding the work "A giant stained glass window", published on my Facebook diary on January 24th, transposed in glass from the Monforte Altar by Hugo Van der Goes. Another example of a context that leaves us astonished are the paintings inside St. Peter's Basilica. Seeing them from afar they look like oil paintings on canvas, but if you look at them closely you realize that they are all mosaics made with tiny tiles. Most people do not notice, but this has allowed the paintings to challenge the centuries that have passed unchanged. I am struck by them, not because I have seen them directly, but because I have studied them, the interior of Islamic architecture completely covered with mosaics and ceramics to the point of dematerializing the spaces.

The light that filters throughthe domes through the colored glass of the windows seems to make them rotate following themovements of the sun. The geometric patterns, in their diversity, have the same foundation as the Cosmatesque ones and the windows, in their diversity, the same functions as those of the cathedrals. This confirms that art is a heritage of humanity and a unifying moment for the most diverse cultures. I have also tried “modern” approaches, but I keep them in the drawer without publishing them because I believe in the fact that whoever looks at the work must immediately understand it, without the need for explanations from third parties or intermediaries.





Great Renaissance artists, the Impressionists, great artists / artisans who made stained glass windows, large mosaics, "Commesso Fiorentino", Trencadis mosaic, marble floors, "Cosmateschi", Azulejos and other artisan forms.