On this day Il Cantiere delle arti presents the latest collection created by the artist Sandra Baruzzi, who will be present throughout the day to illustrate the creative process and creation of the works.

Ceramic sculptures. The subjects are references to hidden harmonies: geometry is akin to music, it is the song of space punctuated by the rhythm of the shapes and the chromatic tonal range.
The home, a universal place from which to rethink ourselves and the world we inhabit, becomes a symbol of oneself, of being and of its containing. A house without openings, extremely intimate, which maintains a domestic sacredness. An archetype from physical to mental space because the home is a labyrinth of our feelings, thoughts and actions, capable of materializing dreams, nightmares and obsessions which from a personal story becomes universal, because it branches out into millions of individual stories. Highlighting the home of the real world, the unusual yet everyday perspectives, the undefined points of view, which leave room for a dreamlike creativity. To each vision its own.
The cypress, a tree symbol of immortality as an emblem of eternal life with a tapered pyramid-shaped crown, which contains protective energy and protects the house from negative energies. A tribute to the ever-living emotional-olfactory memory of the landscapes of my native land: Romagna.
The hills, an undulating magma of earth, an ancestral and sacred material that cradles, holds, cures or expels, overwhelms and upsets, or, why not, projects towards tomorrow by predicting change.
The man is physically absent, but there is evidence of his passage through the boundless voids of the silent landscapes where he has built homes. In the works time is suspended, the different spatial situations are deliberately unrecognizable, without references to precise situations that lead towards the imaginative. I wish to offer the observer the possibility of letting himself be transported into the dimension of the dwelling symbol, without providing specific indications, and of seeking the human passage through delicate suggestions. This is to reawaken that human dimension which is often absent due to distractions and to invite it to revisit places in a sensitive way, to take a position in the front row, in front of a mirror which finally manages to reflect the reality of places, full, almost asphyxiating spaces, and the empty ones in which the echo of a distant and suffering nature becomes increasingly deafening.
Let us listen to the whisper of the earth before there is a deafening cry of suffering