The idea came from a woman who suggested that photographing the women of Venice would suit me perfectly. What began as a pastime became, along the way, a project.
Venice still ignites passion and stories: a city of extraordinary beauty, an illustrious past, a long decline, and today a place that continues to awaken curiosity—especially among women. For an artist in the making, it is where intuition first finds its voice and gradually becomes the work itself.
A project of portraits and stories, bringing each woman together with the city that surrounds her—so that Venice lends its soul to the portrait, and the woman gives hers to Venice.
The name echoes John Ruskin's celebrated The Stones of Venice (1851): if the stones of Venice hold countless precious stories, her women hold even more. Hence: Women of Venice.
The project rests on two pillars: art for its own sake, and an economic model that allows it to endure and grow—portrait sessions, fine-art prints, and, in time, a book and an exhibition.
At its foundation stands one principle: every woman remains the main shareholder of her own image. Nothing is published without her written consent. Should the project generate value, part of that value returns to those who gave it a face.
Built entirely from the ground up—the website, the digital consent system, the archive, and the delivery pipeline—the project is designed to grow organically, one portrait, one story, one encounter at a time.
Reaching a meaningful audience today inevitably means working through the large American platforms. That reality is embraced here with open eyes, not illusions.
The ambition, however, reaches further than this project alone: to encourage, in Italy and across Europe, greater technological sovereignty on our own soil. Culture, creativity, and technology should all be capable of flourishing independently. If this small project can contribute, however modestly, to that conversation, it will have achieved something beyond portraiture.