INCONTRI
Deborah Schamoni is pleased to present the exhibition INCONTRI 鈥� an intergenerational convergence, in which the works of Rebecca Ackroyd, Kerstin 叠谤盲迟蝉肠丑 and Lydia Silvestri engage in an open dialog. The Italian title 鈥淓ncounters鈥� already points to the searching nature of this constellation: between painting and sculpture, figuration and abstraction, physicality and spirituality, a space of internal processes emerges. The works presented focus on that which is beyond immediate perception: the unconscious and the hidden. The body appears on the one hand as a motif, but on the other as a container, threshold and receptive surface for affective traces. Each position contributes a distinct language, grounded in its own temporal and material context, which weaves into a multivocal narrative within the exhibition.
Rebecca Ackroyd, whose work oscillates between sculptural object and drawn surface, is showing a selection of larger works on paper in INCONTRI, in which fragmented body parts and intimate gestures merge into surreal scenes. Her soft lines and fleshy tones evoke snapshots from dreams or memories. Titles such as Sometimes food sometimes sex or Start to finish suggest a fragile, permeable physicality, in which identity becomes an ongoing process. Ackroyd's choice of materials 鈥� such as beeswax in her sculptures 鈥� reinforces the tension between softness and resistance, between intimacy and estrangement.
Kerstin 叠谤盲迟蝉肠丑 presents a new group of works from her M茙TA series: one large-format and several small oil paintings on paper that develop a near-alchemical visual language through ornamental density and layered composition. Known for her collaborative approaches and experimental image carriers, 叠谤盲迟蝉肠丑 here transforms the classical painting into a ritualistic, almost energetic messenger of spiritual processes. Her painterly language is guided more by sensation than by declaration. These works appear as crystallizations of an inner vocabulary 鈥� they conjure states, spirits, and figures without ever clearly naming them.
The Italian artist Lydia Silvestri, whose drawings and sculptures from the early 1980s are now exhibited in this context for the first time, brings historical and poetic depth to the exhibition. Her series Incontri 鈥� which lends the show its name 鈥� and Ambiguit脿 explore themes of closeness and identity through bodily outlines and suggested forms. Bodies shift into flow and dissolve. Beyond conventional narrative scenes, encounters unfold as forms of inner contact. Silvestri鈥檚 drawings are marked by emptiness and concentration, as if to render the unspoken visible. Her delicate, tactile use of line feels almost meditative, turning the act of drawing into a quiet act of introspection.
The interplay of these three artistic voices creates a multilayered field of resonance that centers connection, kinship and mutual reflection. The works of Ackroyd, 叠谤盲迟蝉肠丑 and Silvestri speak through gestures, traces and materials. They create spaces in which memory is constantly refigured 鈥� in which the inner self is given a form that always remains permeable. Encounter, as this exhibition reveals, is always also a movement inward.
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Deborah Schamoni is pleased to present the exhibition INCONTRI 鈥� an intergenerational convergence, in which the works of Rebecca Ackroyd, Kerstin 叠谤盲迟蝉肠丑 and Lydia Silvestri engage in an open dialog. The Italian title 鈥淓ncounters鈥� already points to the searching nature of this constellation: between painting and sculpture, figuration and abstraction, physicality and spirituality, a space of internal processes emerges. The works presented focus on that which is beyond immediate perception: the unconscious and the hidden. The body appears on the one hand as a motif, but on the other as a container, threshold and receptive surface for affective traces. Each position contributes a distinct language, grounded in its own temporal and material context, which weaves into a multivocal narrative within the exhibition.
Rebecca Ackroyd, whose work oscillates between sculptural object and drawn surface, is showing a selection of larger works on paper in INCONTRI, in which fragmented body parts and intimate gestures merge into surreal scenes. Her soft lines and fleshy tones evoke snapshots from dreams or memories. Titles such as Sometimes food sometimes sex or Start to finish suggest a fragile, permeable physicality, in which identity becomes an ongoing process. Ackroyd's choice of materials 鈥� such as beeswax in her sculptures 鈥� reinforces the tension between softness and resistance, between intimacy and estrangement.
Kerstin 叠谤盲迟蝉肠丑 presents a new group of works from her M茙TA series: one large-format and several small oil paintings on paper that develop a near-alchemical visual language through ornamental density and layered composition. Known for her collaborative approaches and experimental image carriers, 叠谤盲迟蝉肠丑 here transforms the classical painting into a ritualistic, almost energetic messenger of spiritual processes. Her painterly language is guided more by sensation than by declaration. These works appear as crystallizations of an inner vocabulary 鈥� they conjure states, spirits, and figures without ever clearly naming them.
The Italian artist Lydia Silvestri, whose drawings and sculptures from the early 1980s are now exhibited in this context for the first time, brings historical and poetic depth to the exhibition. Her series Incontri 鈥� which lends the show its name 鈥� and Ambiguit脿 explore themes of closeness and identity through bodily outlines and suggested forms. Bodies shift into flow and dissolve. Beyond conventional narrative scenes, encounters unfold as forms of inner contact. Silvestri鈥檚 drawings are marked by emptiness and concentration, as if to render the unspoken visible. Her delicate, tactile use of line feels almost meditative, turning the act of drawing into a quiet act of introspection.
The interplay of these three artistic voices creates a multilayered field of resonance that centers connection, kinship and mutual reflection. The works of Ackroyd, 叠谤盲迟蝉肠丑 and Silvestri speak through gestures, traces and materials. They create spaces in which memory is constantly refigured 鈥� in which the inner self is given a form that always remains permeable. Encounter, as this exhibition reveals, is always also a movement inward.
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