Clearing
“Nature is not a place to visit. It is home.”
Gary Snyder’s words embody an increasingly urgent awareness: the landscape is not something that exists outside of us, but a profound dimension of our experience, an emotional territory in which we recognize our fragility and our sense of belonging to the world.
Clearing emerges from this need: to create a moment of suspension, a symbolic space in which the gaze can slow down and begin to listen again. In a time dominated by an excess of images, often artificial and by a growing distance from the natural world, the exhibition proposes a return to contemplation, delicacy, and the ability of art to restore silence.
The five artists brought together in this exhibition share a profound relationship with nature, understood as a living presence, a form of memory, emotion, and a possibility for transformation. Through different artistic languages and sensibilities, their works move through forests, clearings, flowers, animals, and inner landscapes, creating a dialogue between what appears and what remains hidden.
A clearing is a unique space: it is a moment of revelation. It is where the density of the trees gives way to light, where silence becomes perception, and where what was invisible can finally emerge. It is a poetic threshold between the external and the inner world, a place where nature becomes language.As Rainer Maria Rilke suggested in his reflections on the relationship between humanity and the natural world, every element holds a depth waiting to be recognized. The works presented in Clearing move precisely in this direction: they seek to reveal the mystery, fragility, and slow rhythm of nature.
The paintings of Andrea Luzi, particularly Lupercalia, explore the most instinctive and ancestral dimension of our relationship with the living world, evoking a primordial nature in which the painted gesture becomes energy and transformation. The works of Annieo Klaas, meanwhile, seem to listen to the invisible movement of the elements: wind, the vibration of the air, and the passage of light become subtle presences capable of transforming the landscape.
Alongside these more dynamic visions, the works of Salvatore Fiorello lead the viewer towards a more intimate and contemplative dimension, where nature becomes a place of memory and stillness. The artistic practices of Sarah van Rossem and Guo Qikai further deepen this suspended atmosphere through images in which delicacy becomes a form of poetic resistance: small fragments of the natural world capable of holding profound emotions. Across all these works, a fragile beauty emerges, far removed from spectacle. A beauty made of anticipation, details, silences, and minimal presences. A flower, a tree, an animal, or a landscape become symbols of a balance that today feels increasingly necessary. Clearing invites us to a simple yet profound gesture: to stop. To rediscover an inner space through the act of looking. To remember that, before being observers of the world, we are part of it.
At a time when the relationship between humanity and nature appears increasingly complex and fragile, these works offer a possibility of reconciliation. Not an escape from reality, but a different way of inhabiting it: slower, more conscious, more human. The exhibition thus becomes a pause within the noise of the contemporary world, a breath entrusted to light, roots, and the silent poetry of living forms. A clearing, indeed a place where the world reveals itself once again.
