My research revolves around observing nature as a process rather than as an image. I am interested in slow transformation phenomena: stratification, sedimentation, emergence, and fading of form, those moments when the image remains suspended and not completely defined.
The work takes shape through an immersive and gradual method. I paint in successive layers, allowing the work to build over time, in constant dialogue with the material. The composition is not predetermined, but emerges from a balance between gesture, pause, and observation, where control coexists with listening. Areas of density and areas of breath alternate, creating an internal rhythm that recalls natural cycles.
Color is a perceptive tool: I use palettes inspired by organic elements—mineral greens, aquatic turquoises, warm earth tones, milky whites—to construct atmospheric depths and a light that seems to emerge from within the surface. The images do not describe specific places, but evoke sensitive spaces that can be traversed, open to slow enjoyment.
My paintings are conceived as habitable visual environments, capable of establishing a silent and lasting relationship with the observer. Painting thus becomes an act of attention: a way of slowing down the gaze and restoring an essential, vital nature in constant transformation.
My painting process is based on working in layers and over an extended period of time. Each work begins with an initial atmospheric phase, in which I establish a chromatic and perceptual climate rather than a composition. From this initial state, the painting develops through successive glazes, additions, and subtractions, in a continuous alternation of intervention and waiting.
I work by letting the material suggest possible directions. The forms are not designed in advance, but emerge progressively from the dialogue between gesture, color, and surface. This approach requires constant attention to the transitions, densities, and moments of suspension, in which the work is observed rather than modified.
Color is used in a layered and transparent way to build depth and an internal light within the surface. Each intervention is conceived in relation to what is already present, without forcing the image towards an immediate definition. The painting proceeds through temporary balances, which are questioned and renegotiated until they find their own stability.
The process ends when the painting reaches a point of calm, where the different parts relate to each other without overloading. The work remains deliberately open, not resolved in a descriptive way, so that the gaze can linger on it over time.
Isabella nazzarri 