in a near mingling, as if to fully know its innermost structure. But this is not just a case of “learning to see” things as they are intertwined in the plot of nature; it means feeling a sense of belonging to that same plot. This is what happens in
Pittura per ciechi (Painting For the Blind), a series di gouaches made on the pages of old Natural History textbooks in Braille, or in works like Bianco/Nero (White/Black)
Bianco/Rosso (White/Red), where the shortening of the distance between the eye and the represented object produces effects of distortion, overlaps of figures that appear on the single sheets, disrupting their order: each of them thus appears as a fragment of something whose overall view has been lost.
