Elia Novecento (Rome, 1989) is an Italian artist who lives and works in Rome. His involvement with the Roman underground street art movement started at a young age. He was quickly attracted to the world of graffiti letters and colors, and began to create them, focusing on composition and balance of geometries and colors. He graduated from the Ripetta Art School, where he learnt about the Roman School of Piazza del Popolo from painter/professor Cesare Tacchi, which brought him to pursue painting as his preferred medium. The Roman cultural atmosphere of the Sixties continues to be a rich source of inspiration and research for Elia's work. In 2016/2017 he founded Collettivo900 in Rome, together with artist Leonardo Crudi. In addition to creating wall paintings for public and private contracts, the two artists displayed hand-painted posters related to Italian cinema on city streets. The elements and symbols of the urban environment, Rome of the Sixties, together with literature, poetry and cinema, are the main suggestions that have given rise to multiple production cycles and constitute the reference system par excellence of his poetics. He is driven by the aim to create decodable and narrative visual structures in his work that, via a smart game of balances, bring the abstract world of geometric shapes into dialogue with the harmonious figurative world of human and animal profiles. Elia's signature can be seen in the use of the female form, which has no political implications. Although firmly linked to the world of mass media, from which it is extrapolated as a silhouette to be utilized for endless variables, he transforms it into a type of logo that mixes with the solidity of geometric shapes.  Recently, he used carpets and fabrics from all over the world as a visual basis, which he frequently found in markets or private homes. Elia's urge to add his own word, his own trace, to objects that already have their personal history is expressed through his visual engagement with them. An artistic action that is never impulsive, but always meditated, that presents itself as a precise "textile work" by inserting and continuing the previously stitched shapes and narrative without interruption. This interest also exists in a specific geometric context related to the concept of texture: a collection of shapes that form a perfect pattern. The artist sees this pattern as a flawless algorithm that must be penetrated in order to combine with one's own image, allowing order and chaos, objectivity and subjectivity to coexist.