The red line bonding the works of the artists Kenneth Blom, Aqua Aura, and Manuela Toselli is the
subtle “existential attitude”: a sense of disorientation in the face of an apparently meaningless, absurd
world. Resonant architectural spaces exactly represented or just suggested, underline the feeling of
solitude and dismay we all experience from time to time, meanwhile we discover that are exactly
those feelings to push to the urgent introspective action bringing us the necessary strength for
catharsis, comprehension, and harmonic evolution.

Blom’s paintings address the relationships between the human figure and big empty spaces.
The architectural structure is clearly an important part of his work, rendered with gestural brushstrokes
and vivid color, and his figures are depicted with the same blend of vagary and precision. These
elements combine to create psychologically independent, solitary worlds.

Aqua Aura’s meta-photography at first glance might seem frozen in a moment of perfect aesthetic,
deprived by all human reality, but actually, they draw from to the artist most intimately: his fears,
hopes, dreams, not only for himself but for the whole of humanity and the planet. Inviting the observer to a
subtle reflection on our philosophical, moral, and consequently ecological standing point, as individuals
and as society.

Manuela Toselli’s silk creations are the result of an abstraction process and personal coding of
everyday life. The silk holds a great conceptual existentialist value because, in order to be produced,
the silkworm is killed before it completes its metamorphosis from chrysalis to butterfly. The
architectural references in her creations are more aleatory, but strongly perceived thanks to the
combinations of fabric and streams. Toselli’s architecture results as trapping and distressing as much
as dynamic and liberating, a contradiction typical of the human soul seeking answers.