The exhibition Naturae Visions between reality and imagination sees the return of two artists already known to the public at the Punto sull'arte Gallery: Ottorino De Lucchi with his virtuous flowers in watercolour-drybrush and Marika Vicari with her graceful watercolours on paper, with a total of around 30 new works. opening reception of the duo exhibition will be held on March, Saturday 14th from 6pm to 9pm.

De Lucchi and Vicari’s works, created for the exhibition, create a sophisticated dialogue in which analogies and differences intertwine, overlap, distinguish and underline each other. It is Nature that conquers, taking the main role in the artists’ works, highlighting a distinct characteristic in the singular artistic-aesthetic vision which, compared to the language of each of them, attests to specific principles and, for this reason, renews, again and again, the mystery of its unchanging essence. The two artists’ new series create a moment, an instant of absolute time which, in the unrepeatable nature of its proposal, cancels any contingent space-time process and transports the public's gaze into a complex succession of thoughts, fantasies and definitions. They are able to demonstrate how the natural element is still capable of striking and inspiring the observer’s imagination and feelings, intriguing and motivating them in accordance with a universal poetry and lyricism.

The set-up designed specifically for the occasion will allow the works to highlight the individuality of De Lucchi and Vicari’s viewpoints, but also to establish a set of connections that open unprecedented expectations and interpretations capable of going beyond the specificity of their independent vision. In the expositive journey, therefore, the continuous alternation of their intense expressiveness allows them to alter the aspect of the natural image (and imagination), to live it in a way that allows one to activate different atmospheres deeply which, in the end, find a point of coherence and congruent similarity.

An historical link returns in Ottorino De Lucchi who, taking on the “classic” still life as a subject, amazes the public with that imperfect perfection in which fiction itself can almost surpass, with the mastery of the painter’s hand, the same reality that it attempts to describe. The hyperreality of his painting astounds with its method: well-finished, punctual, attentive, it leaves no room for distraction, not even the observer remains immune to it, forced to a continuous and constant inspection of the pictorial image to understand where the truth ends and where the fiction begins. Marika Vicari, on the other hand, rarefies every composition, which, between whites and blacks, and indeterminate additions of a single colour, evokes recollections and memories of lived and explored landscapes. Her proposal refers to a lyricism of conscience and inner reality in which the truth is alluded to in an indeterminate and barely mentioned definition.

Everything remains suspended: the horizons are broken, the details interrupted and the precision, strong in its tension, remains hinted at in a frangibile decomposition. Her forests, her trees are clarified by their beingness as necessary metaphor for our existence and our human history. In a reading of ancient Romanticism, a reflection of actuality is launched that is not suffocated by the adulation of fashion. The works of the two artists define two natures that know how to find a point of equilibrium and respect by mutually granting each other their respective shortcomings, weaknesses and fragility; feeding on the peculiarities of its stylistic, expressive, intuitive particularity. The comparison between Vicari and De Lucchi is granted in a mutual interpenetration which, in the name of a silent, strong and energetic poetry, strengthens the visual pact with another possible lyrical reading of (our) world, placed out of all time and far away from every contingency of the present.