The painting of subtraction and silence, annulment, and transparency in Silvia Ciaccio is a fluctuating sign that, while seeking an intonation with the absolute, maintains a different relationship with the physicality of the elements. The deconstructive practice of her color is the result of the pronounced sensitivity with which she seeks the essentiality of the appearance of possible manifestations of the world.

The ceramics of Cristina and Renata Cosi take the form of skins, fabrics, pages, generally white, empty, and light supports incapable over time of retaining the memories and stories lived. They are fossilized in a heavy lightness that fixes those changes that they could experience.

Andrea Facco’s painting, pursuing the punctuality of hyperrealism, tries, in a semantic challenge, to represent what has already been represented. His reality then moves away from the initial one to deduce the essence of something different in a continuous transformation of the visible.

Federico Ferrarini, between painting and sculpture, opens a spatiotemporal connection with our world, transferring from the two-dimensionality of canvases to the three-dimensionality of sculptural installations a transfiguring vibration that lingers on the evidence of atavistic and cosmic energies, the same that regulate the universe we are immersed in.

In the elaborate essentiality of his forms, Luca Marignoni debates the duality of opposites, altering the physical state of the material and making it vibrate with unusual formal evolutions; thus, he seeks the vital energy that the matter itself preserves, retains, and allows to explode, restoring it to the gaze capable of intercepting it in its new possibilities and truths.