Narrative & Poetry Topical Icons


illustrazione Robinson Crusoe, Doctor Pencil & Mister China, Galleria d’Arte Moderna, Bologna 1985

illustrazione Racconti di mare, “Lettera 96”

illustrazione Acchiappanumeri e Perdigiorno, di Nietta Caridei, Ed. d’if 2002

illustrazioneAlessandra Berardi, dalla raccolta L’ombra che sembra, Smerilliana n 3, 2004 Casta Diva

illustrazione Cartolina Poesia Porta Pace per L’Alfabeto di Atlantide, 2003

illustrazione Stella cometa – cartolina di Natale


“Books are talking pages” the Indians say.

Ah, yes…! Clementina takes great pleasure in losing herself and finding herself among the pages of books. My grandmother before me, whose name I share, would forget everything when immersed in a good story. If she found one of her offspring’s books by “Salgari” on the kitchen table, the adventure it revealed would have taken the place of dinner that evening…

One of the most pleasant memories of my childhood was the unexpected discovery of an illustration among the pages of book. The picture was of a child reading and it has become for me – an adult and an illustrator – the key to a thousand doors.

The creation of an illustration is a way of sharing the creative experience with the author of the text. Whoever ventures in the world of cut-outs armed with a pair of scissors is ready to fly, and this is the spirit which lends itself both to the illustration of narrative and poetry – the ultimate symbol of the abstract.


In the world of poetry the haiku, that authentic cut-out of an image, was my first love. But my poetical training and my desire to illustrate poems were provided by a friend and poet, Alessandra Berardi. A passionate challenge – to synthesise the synthesised!


Whether following Little Red Riding Hood or Robinson Crusoe, the illustrator is launched upon a voyage – an important experience of life and personal development.

Very often, the search for an image to go with a particular story, even when the latter is rich in elements of fantasy, leads me to investigate with meticulous pleasure its historical and naturalistic elements. This leads me to a very personal choice – the strongest impression to which I “succumb”. I search my personal pantry for a “distillation” of elements and emotions with which to brew an “espresso” on the page in black on white. Colour sums up the impressions of a voyage and, like impressions, they are subtle but intense.