Futuristic artist multifaceted in dealing with various artistic problems, he took his pseudonym from his mother's surname.
Perhaps in the omen of a short life he moves in an animated and active way on the front of the artistic avant-garde, above all embracing the Futurist spirit in all.
In 1922 he co-authored the libretto Poetry proletaria and in 1923 he established the Futurist Artistic Unions in Turin, promoters of a proletarian revolution in a futurist key. In 1928 he organized the Futurist Pavilion for the Turin International Exhibition.
His initial activity is strongly linked to the word, both in theater and poetry, but also flows into painting, with a style initially linked to abstraction and then to arrive at a figuration that is defined as cosmic.
Publishes the magazine La terra dei vivi. He also carries out critical and historical activities and founds publications the Futurist City in 1929 and La Città Nuova in 1931.
In the last year, he edited the publication of an important international repertoire La Nuova Architettura and signed the Manifesto of Futurist sacred art with Marinetti. A series of his pictorial works on sacred art has recently been highlighted, a classic theme of the Italian tradition, revisited in an experimental futuristic spiritual-mechanical key.
In 1931, again with Marinetti, he signed the Manifesto of Futurist cuisine and exhibited at the first Quadrennial in Rome.
In 1933, with Enrico Prampolini, he executed the large futuristic mosaic Le communications inside the tower of the Palazzo delle Poste in La Spezia.
His work Untitled, 1923, is preserved in the Cantonal Art Museum of Lugano
He died in Turin, the city where he had almost always lived and operated, in 1936, after a long illness.