The artworks [on display] precisely because of their intrinsic semantic force and the immediacy of the visual, tactile, and variegated perception that the ceramic medium is able to communicate, revealed subtle cross-references between them which, albeit the individuality of the tones, colours and undertones, weave a fluid composition gradually becoming more powerful and decisive, and eventually acute. Little by little gaining strength by the lofty atmosphere of the ancient church, with its apparently simple architecture, which however innervated with a relentless, logical, and compositional force of its own, becomes a detonator for the visitor’s visual and conceptual reactions. There is therefore a common element between these works so different yet so related, but I would like to talk about them individually because each has a meaning in itself; this concerns a sense of feeling, if not properly a sentiment, which seems to be evident in these works that stand vertically, lying as if abandoned, peeping out from the walls: the feeling of an expectation, of something that has happened and that, by transforming itself, aspires to a new meaning, to a new life. This inevitably links expectation to hope, not meant as a pure and generic spiritual expectation, but as a choice of conscious, rational, or as I would say enlightenment for a real change of vision and approach to current issues. That’s what artists do, they look at reality with other eyes, they perceive the values and meanings of things, they combine them with their experiences and their sensibilities, and provide us, through their works, a substantial re-semantization of the initial thought by combining, grafting, and overlapping.

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Valerio Terraroli