The artworks of Erminia Piu create an unstable series of contrasts of situations in which the sculptural elements insist to provoke an inevitable perplexity. Producing tensions in relation with the public, but also in their apparent neutrality emphasized by their instalment in the entire gearing of the space — physical, mathematical, conceived, looked at –, the artworks seem to be synthesis of cynical poetry about the most impossible days we can live.

The exhibition involves a setting of the relations of situatedness in the space, of the relations of proximity to the artworks design, and of the relations of de-conceptualization (but not haptical in an arbitrary mode) from the inverse perspective of each person in public. Both, the invisibility of the fixed points of sitting in relation to the apparent immobility of the sculptural pieces, and the inherent quasigiroscopy circumscribed in the impulse to move in the objectualized space, in the sense of the philosophy of the emancipation of the objects, are the conditions of interaction inserted in the displayed artworks.

The experiential paradox of the multitudinal relation – perceptive, affective, imaginative, reflexive, etc – of each person with the artworks is produced by the observational instability at the level of the conflict which is created between the figurative register of the sculptural pieces and the abstract character of the complex of the possibilities of interpretation applied to the artworks. This seems to be a common place in the artworld, but here it is marked with obstinacy with the intention to reset it and, in this way, with the intention to update it and regenerate it. What seems to be obvious, identifiable, understandable, could be, in the parallel reality of interpretation, obscured, fuzzy, incommensurable. Nonetheless, in the configurative space, the impossibility is ostensive, and the intelligible allusions facilitates the reaction of some events of thought.