Throughout the ages, art has always rivaled nature, risking ruin toward the bottom, where it mounts the noise of what is falling apart (but is actually already echoing, already past, already accomplished). Instead of trying to plagiarize or bend nature to our desires, it is necessary to tap into its secret energies; it is therefore up to artists, not critics, to have the "last word" on the beauty that lurks in forms and materials.

Juan Carlos Ceci's painting has always lived of spurts and hesitations, of fury and afterthoughts, of surfacing and sinking. Rather than proposing to paint a still life, the artist has always claimed to intuit a Nature that was consubstantial to the painting itself.

Luca Freschi traces the fictile material as his primary source in a mixture of different times and places. The Caryatids, installations of totemic configuration, range between iconographic and formal references, drawing on cultures of antiquity and the present day.

Alessandra Gellini's work, In fìeri, draws, according to her usual poetics, from nature suggestions to express profound existential experiences. In this case, as already in the work Noi che io sono the concepts of change, adaptation, resistance emerge.

Giorgia Severi's works investigate "cultural landscapes" in which cultural identity is/was closely linked to the nature of the place. The Ghost Landscape project using Ghost Gum Trees, centuries-old eucalyptus trees bearers of memory, guardians and protagonists of local histories and traditions, as well as witnesses of events related to colonialism.

Luca Piovaccari proposes wild gardens and landscapes lost in time that seek, in cold weather, regeneration. That of the solitary wayfarer, as well as that of the 'artist, is a backward journey about the world that speaks to the soul of nature and to each of us.

Like a juggler poaching, Verter Turroni untangles concealment and camouflage; moved and shaken by curiosity that stings attention to the core, the artist arrives at an extreme and radical reduction that reconciles as little as possible with "something."

Curated by Alberto Zanchetta