People

Raw Portraits: Giulia Peyrone

Images courtesy of Giulia Peyrone
Exploring memory and transformation through painting and textiles.
Raw Portraits: Giulia Peyrone
People

Raw Portraits: Giulia Peyrone

Images courtesy of Giulia Peyrone
Raw Portraits: Giulia Peyrone
Exploring memory and transformation through painting and textiles.
ROWSE

Having spent your early years between Italy and Thailand, how did that constant cultural shift influence the way you perceive and create today?

GIULIA
Moving constantly between Italy and Thailand, my world was always shifting; airports became familiar, and my home a mosaic of objects, textiles, and materials. This duality shaped my eye early on: I learned to read culture through form, color, and texture. Making art became my way of grounding change: painting, for me, is a borderless space where materials, memories, and identities can coexist and transform.

ROWSE

How do you usually describe yourself and your practice? There’s a beautiful tension in your work between repetition and rupture, control and intuition. Where does that come from?

GIULIA
I paint the quiet tension of small things; everyday gestures, emotional shifts, unspoken states of mind. My process moves between control and intuition: repeating forms to find rhythm, then breaking them to let something unexpected emerge. Each piece is a symbolic language, a way to translate what I can’t put into words. Through painting, I turn internal chaos into moments of calm, offering viewers fragments of their own emotional landscape.

ROWSE

You move gently across mediums: painting, textile, installation, printmaking. What guides your choice of form? Is it a question of instinct, structure, or something in between?

GIULIA
My practice is rooted in exploration. I let materials guide me, sometimes it’s instinct, sometimes it’s a quiet response to a feeling or place. I move across scale and medium as a way to reflect on time, memory, and transformation. I try not to set rules, but to stay open. Each form reveals something the other can’t.

ROWSE

What is your relationship with beauty, not as perfection, but as something raw? How does it live in your daily life and in the gestures of your work?

GIULIA
I see beauty as something intimate and imperfect, more ritual than result. It lives in the way I prepare coffee, fold fabrics, arrange objects, or care for my skin in the quiet hours. These small, personal routines root me in the present. Beauty, for me, isn’t polished: it’s raw, quiet, and deeply felt. In my work, I try to preserve that feeling: the texture of a brushstroke, the unfinished edge, the trace of a hand. It’s about presence over perfection, holding space for what’s real.

ROWSE

Could you share some of your rituals in the studio? Are there objects, movements, or textures that anchor you in the act of making?

GIULIA
I begin by preparing the space; lighting a candle, choosing music that matches my mood, adjusting the easel, and setting the canvas in place. Mixing colors is a grounding act, like tuning an instrument. These simple gestures help me shift inward. The textures around me: linen, paper, leftover fabric, bring me into the present. They remind me that making is not just about the result, but about being fully there.

ROWSE

You’ve lived and worked in places like New York and Milan. How did each of these cities leave their mark on you, not just as an artist, but as a person in the world?

GIULIA
Milan taught me elegance, restraint, and the quiet power of details. New York gave me urgency, freedom, and the courage to take up space. Each city shaped how I move through the world how I see, feel, and create. They left their mark not just in my work, but in the pace of my thoughts, the way I dress, the way I hold contrast; between structure and spontaneity, softness and intensity.

ROWSE

And now, looking forward: are there formats, materials or ideas calling you something not yet explored, but already alive within you?

GIULIA
Lately I feel drawn to movement: formats that breathe, travel, and interact with the body. Textiles, garments, portable objects. I’m also thinking more about storytelling as a medium: blending image, text, and memory into something more fluid. There’s a desire to blur the lines between art, life, and ritual to create works that are not just seen, but lived with.

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