... There is a profound difference between watching and seeing. The same difference between seeing and seeing beyond, seeing beyond conventions, exploring from different points of view, up to perceiving the different reality from which it is or is assumed to be, conditioned by commonplaces and so-called biases cognitive. Instead, there is a separate reality, or at least the possibility of it; it is precisely this possibility that Silvia Serenari makes visible and perceptible by dismantling a piece of everyday reality element by element, to translate it into the imagination.
The operation of distortion and recomposition to which the artist submits the shot taken from the "real", tearing it from the sphere of the real, results in figures with rigorous elegance, similar to mandalas or kaleidoscope visions: ideal geometries, perfect lattices from the fascinating aesthetic appeal. Like small and enchanting sirens, these fascinating presences thus capture the attention of the user, causing them to push their gaze deeper and deeper, in an attempt to understand something more, to bring them back to that real datum from which they were born but of which they have completely lost its original appearance. But these enigmatic figures, isolated and suspended in square and monochrome structures that pigeonhole them with Cartesian precision as if they were molecules looked at under a microscope,
Rather, they seem to reveal the structure of things, which underlies the external data, made visible in forms that are both synthetic and natural, immobile and changeable, in a continuous game of visual references and déjà vu. In their geometric elegance, they recall the beauty of Islamic iconoclasm but also the research of humanist mathematicians, the possibility of suggesting the perfection of creation through the sign, the number, the harmony of proportions. Instead, in their delicacy they have something reassuring: the magic charm of a kaleidoscope, the familiar repetition of the shapes of a crochet lace or doily, the reflective serenity of a mandala.
To realize them Silvia starts from the world that surrounds her: an architectural detail of Santa Maria del Fiore (Anima Urbis iter perfectionis), the branches of a tree (Anima arboris), a lock of her hair entered by chance in the photo shoot in a day of wind (Iter Mysticum), the waves of the sea (Fluctuationem meam). To explain his approach to reality, the artist mentions Bachelard, who in the Psychoanalysis of Water Explains that "before being a conscious landscape, every landscape is a dream experience" .....

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