EntreNous_02 the treasure of atreo garden project_2015: Hidetoshi Nagasawa and Michele Guido

EntreNous_02 the treasure of atreo garden project_2015

September 21 > November 7, 2015

z2o Sara Zanin Gallery is pleased to present EntreNous_02 the treasure of atreo garden project_2015 with Michele Guido and Hidetoshi Nagasawa.
The treasure of atreo garden project_2015 is the second step of a series of exhibitions that involves artists of different generations, within the same gallery space. The project encourages the careful examination of the practical, poetical and stylistic consonances and dissonances, in order to highlight not only the similarities but also the uniqueness of each artist’s practice.
The relationship between nature and architecture is driven by the  filter of the senses and to take it to a scientific reason. In this way, the complexity of the universe is apparently measured and contained into a plane or three-dimensional space, dominated by perspectical lines and mathematical ratio which produce the illusion to understand and control the entire sensible universe.
Behind every illusion, remains the awareness that nature keeps a secret which escapes every law or logic, that lets us contemplate in an air of mistery.
To approach the sensible universe means to prepare to receive also this vagueness in order to make it fruitful. The suspension, the contemplation and the meditation are complementary aspects to the scientific process that allow us to go nearer to the natural universe.
The artistic research of Michele Guido and Hidetoshi Nagasawa intervenes in this main phase of contemplation, the crossroad between the nature and the digressions of the architecture draws the boundaries of a shade that, through art, can worm out the most mysterious aspect of the real.
The two artists give up the demand to reduce space into a reason-vision exclusively scientific environment, instead, they welcome the emotional nature to translate it into an incipit and modus operandi of an artistic practice that approaches nature in a more mimetic praxis, liberated by every intellectual prejudice.
Michele Guido seems to search the hidden messages and codes in nature that allow us to intervene into the sensible universe. In this way, the spatial perception controlled by the perspective of the Renaissance is reunited to the poetical ecstasy of the natural element which contains its own mystery.
The veinings of a leaf dictate the perspectical drawing of the Borromini’s Palazzo Spada’s gallery; the elements of the mosaic, not altered in their presentation, became the flower beds of an ideal garden. The construction of the garden is kept, as a sign, into the single natural element. The leaf, the silent witness of the entire study, is the plant that maintains a precise plan of representation of the world.
In this perspective, human being has to appeal to a hyper-sense that allows him to decode the plan that nature has. The listening and interpretation of the message follows an operation of analogy, made possible thanks to the instrument that human being created to read the real: the perspective.

Hidetoshi Nagasawa crosses the artistic categories through a practice that approaches architecture, creates spaces to be lived in mentally, plays with geometric structures that seem to float in space, challenges gravitation and common perception, creates emptiness that seems to have shape and density despite it’s lightness and transparency.
The work is composed by opposites: shape/emptyness, heaviness/lightness, aspects of the sensible universe that melt together.