---
title: 'THE MILD CERTAINTY OF THE ORDINARY...'
description: ~
lang: en-GB
canonical_url: 'https://narcisobresciani.com/en?id=11&view=category'
---

![The event of the artwork transforms it into the unprecedented. And so, Narciso Bresciani's ash rug is what is never...](https://narcisobresciani.com/images/recensori/muccioli.jpg)

## [ Cristina Muccioli ](https://narcisobresciani.com/en/reviews/cristina-muccioli)

### CRISTINA MUCCIOLI

![](https://narcisobresciani.com/images/recensori/muccioli.jpg) ![](https://narcisobresciani.com/images/narciso-e-musicista-450x600.jpg)"The event of the artwork transforms it into the unprecedented. And so, Narciso Bresciani's ash rug is what is never been seen of the rug, the form never taken by the ash, the yet unencountered in the subdued and mild everyday life, common and sober of both elements.

Art always breaks in, even without clamor, without any noise or ostentation, because at the moment it manifests itself, it disarticulates the grammar of the real, the usual way in which we read it, reducing any object to its function. A rug serves to decorate, to soften the hardness of steps, to facilitate the first steps of infants, to embellish an environment.

Ash serves no purpose anymore, but it was used to wash clothes for sanitisation, and to fertilise fields.

No, none of this would even allow us to get close to the combination of rug and ash in Bresciani's work, which transfigures and removes any accommodation of meaning from the thought-out, accommodated, used, consumed, domesticated, conventional world.

Stripped art catches us off guard, innovates the worn, the most well-known of elements, and the most neutral of purposes.

The artwork does not represent, it does not merely present the same thing a second time in an image, but it presents, stages, subverts, triggers, unsettles common sense, shifts thoughts with the force of the unpredictable, the unexpected.

***THE MILD CERTAINTY OF THE ORDINARY OPENS A PASSAGE TO THE POSSIBLE, WHICH UNFOLDS IN INFINITE WAYS, AS MANY AS THERE ARE SENSITIVITIES, INTERNAL RESONANCES, ASSOCIATIONS, MEMORIES, SYMBOLIC RESONANCES.***

Bresciani convenes the public not as mere consumers of the artwork, but as co-authors because each one on the surface of the ash can trace a sign, their own. You can't walk on it - this would presuppose a rug - because the volatility of the ash would dissolve it. This implies that no one can stand in the center, only at the margins, as at a table, with respect and conviviality. Instead, one can find again the emergence of the tactile gesture that leaves an imprint, that signifies with fingers, with hands, with a stick as their prostheses. It’s not possible to walk on it - as expected from a rug - It won't be forever because the support does not preserve but makes something appear, reveals something that was sealed and hidden inside us, makes the invisible visible (gratefully remembering Paul Klee's teaching) that we are when we think and imagine. Even the transience of this action is delicately but decisively insubordinate. We are used to thinking of the artwork as a 'monument,' a crasis of 'memento,' which is the Latin imperative corresponding to the exhortation to remember, to that which remains and knows how to remain uncorrupted, immobile, unchanged.

Ash is volatile, extremely light, unsuitable and unable to retain for long, but welcoming in receiving a meaningful gesture, which, together with others, becomes silent chorality, discourse, dialogue. No force or expressive talent is required, but trust. One needs to trust the environment and others present to trace a shallow but visible furrow on a light and extremely friable mantle like an ash rug. And it implies bending, leaning, and bowing to the artwork to actively participate in it.

Again, an alteration in the habit of frequenting artworks, generally framed and hung on a wall, or placed on a pedestal that, tall or short, keeps us upright, erect, and correct, all in one piece, without folds, without 'pleats.' Life, however, is dramatically com- plicated, already folded from a birth that includes and foresees our being mortal, our being at the same time unique, unrepeatable, never existed before, but assigned to becoming, to transience, to the end. Yet, we can feel like an ash rug not so much because, as sacred texts admonish, we will return to it, but because the ash here, in Bresciani's work, has a perfectly defined geometric shape: the rectangle. Such a form is an act of resistance against dissolution and formlessness. Our very writing gestures (not naturally alluding only to alphabetic writing) are inscribed in that form, in that page laid on the ground, in that extension of matter delimited by a clear outline, even in the sense of being clean. Chaos, subjectivity, unpredictability are contained within it. If 'turning to ashes' refers to dissolution, here we do not go but come to ash to exist and coexist together with others in a tapestry of signs that are, succinctly, our culture. Culture, from 'colere,' to cultivate, has required from the outset our bowing to the earth, which we considered sacred before intensely, predatorily assaulting it.

This artwork has its future in our being there and participating, in the memory of our gesture, of that posture that only collecting something from the ground now belongs to us. In this case, instead of collecting, we deposit something to then let it vanish, like when children draw on fogged windows or on sand, on snow, without exhibitionism, without theatricality.

Ash is produced by burning. In this artwork, wood burned. Theodor Adorno in his Aesthetic Theory defines the artwork as a place of resistance, which certainly cannot be reduced to mere provocation or sensationalism for like collection, to actualize. The ash that becomes artwork is the emblem of resistance to nullification, of ulteriority to the corrosion of matter. A residual trace of heat, of light, of cooking food, the ash of this carpet is a voiceless thank you, a secular prayer recited not before but after eating, after warming up, after illuminating. Perhaps, even after burning ourselves.

Neither hot nor cold, neither liquid nor compact, ash is what is left from the claim of annihilation, it is evidence of a burn, of a fire, of an inevitable destruction, which, however, is brought back within a perimeter, inside a museum hall (at the Fabbrica del Vapore in Milan), to become an occasion for form, relationship, meditation.

Its very color, gray, in its anti-exuberant calmness, refers to silence.

Silence is an essential condition for the artwork to present itself and be experienced, even when it is musical. One listens when one is silent and makes space for the other. Gray seems to absorb and then return it. Utmost humble, gray is the only color, as Bruno Munari taught, that allows white to emerge.

It is the color of the shadow that testifies to the existence of bodies and resistance to their complete annulment, to oblivion. It is the color of what was not allowed to be destroyed by fire.

Cristina Muccioli

*Art critic, Professor of Communication Ethics and Aesthetics at the Accademia di Belle Arti di Brera"*

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![The debate on the duality of matter/memory – of which Narciso Bresciani's work constitutes an original variation ](https://narcisobresciani.com/images/recensori/porreca.jpg)

## [ Francesca Porreca ](https://narcisobresciani.com/en/reviews/francesca-porreca)

### FRANCESCA PORRECA

**MATTER AND MEMORY**

![](https://narcisobresciani.com/images/recensori/porreca.jpg) ![](https://narcisobresciani.com/images/arythmics/07_GeneticalSoundSoul_N2.jpg)The debate on the duality of matter/memory – of which Narciso Bresciani's work constitutes an original variation – began with an essay by the French philosopher Henri Bergson published in 1896, which explores the relationship between perception, consciousness and memory in relation to matter and the dimension of time. Matter exists exactly as it is perceived, that is, in the form of images: hence the importance of perception, the key instrument by which the body relates to reality. Through conscious perception, man adds his original contribution to the images, while his relationship with matter acquires duration, extending beyond the instant, in the domain of memory.

Memory thus comes into play in representation, able to manifest what is no longer present, in other words the physical matter with which the body came into contact at the moment of perception. The plastic production of Narciso Bresciani, an array of sculptures of varying sizes and environmental installations, features extensive experimentation with techniques and materials – from stoneware to enamels, from plexiglass to iron to ash – and careful modulation of the chromatic and material aspects of surfaces. Each work seems to emphasize the need for a conscious perception of space, and translates the artist's relationship with time and the layering of the creative process; the symbolic importance of each work is amplified by the tactile approach – firstly that of the author in relation to the clay to be moulded, and subsequently that of the viewer with the sculpture as it exists within its space, waiting for a new encounter.

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![Territmi (Earthrrythms) is the title of a new series of small sculptures, disarrayed, irregular, and crooked, recently...](https://narcisobresciani.com/images/recensori/ceresoli.jpg)

## [ Jacqueline Ceresoli ](https://narcisobresciani.com/en/reviews/jacqueline-ceresoli)

### JACQUELINE CERESOLI

**TERRITMI**

![](https://narcisobresciani.com/images/recensori/ceresoli.jpg) ![](https://narcisobresciani.com/images/arythmics/38_Untitled_11_Territmi_Earthrrythms_semirefrattarioossidismalto_dim_cm_34xh31x23_year2015.jpg)Territmi (Earthrrythms) is the title of a new series of small sculptures, disarrayed, irregular, and crooked, recently produced by Narciso Bresciani. Introverted, self-effacing, focused on his autonomous post-poverist artistic research, he employs simple materials such as semi-refractory clay or stoneware, natural pigments, glazes and oxides, the addition of ash and on occasion gauze. 
Bresciani playfully sticks his neck out with these bright, vibrantly coloured sculptures, as unstable as sandcastles on the seashore, or the crumbling farmhouses seen along the banks of the Naviglio. Moving on from the Arrhythmic series which he was previously known for, marked by more linear, monochrome, generally horizontal forms of a more cerebral nature, the forms he currently favours are more poetic, playful, coloured, light and alternatively vertical, animated and pulsing with a new energy without aspiring to resemble anything, poised between abstract and figurative, protrusions and introflections, emptiness and fullness.

Here the value placed on the creative act, and intuition become the only, self-referential, meaning. Bresciani makes hard things easy, experiments with colour tending to a clearly informal and tactile orientation, and experimentation with new clays flows into more open sculptures, the rhythm ascensional compared to previous ones, dilating to fill the space, dreamlike, as if to reaffirm the autonomy of art. In taking the object to the limits of representation, however abstract, detached from any naturalistic reference, the object is raised to the status of icon, asserting its presence in such a way that these sculptures demand attention and become images. 
They seem an embodiment of a case of transference, Freud might say, between the organismic and vitalistic impetus of nature and music and poetry enshrining the unending, ancestral, mysterious movement of the Earth weaving between dissolution and reconstruction. Bresciani does not oppose form with formlessness, they are complementary, un-fullness defines matter. In assembling vertical tiles like strips of cloth, space acquires presence and form in the shape of physical objects. Earth, ash, textural mixtures as alchemic matrixes are recurring elements throughout his production, blue and red hues, tonal variants of grey and black, and shades of white used in this series of sculptures embody emotional tensions, like a divertissement for the soul. For Bresciani the memory of images, impressions, shapes and experiences, diluted by time and space, do not point to the past, but to thought, creation, transforming matter, alive and pulsing. He creates visual shortcircuits, tactile counterpoints as signs, traces, evidence of times past, in order to assign new meaning in an eternal present. Earth is contained inside matter, the artist seems to remind us, and it is in childhood that the wonder, the enchantment of the world shape an inchoate jumble of personal images and forms free from the grid of reason. 
His Territmi are moulded directly from the magma of memory, from dreamtime, the place, as Freud would say, where indelible images are inscribed, belonging to the personal history of the subject and evoking in the mind of the viewer, from different viewpoints, hybridizations of form and poetry, previously unseen rhythmic suggestions in an exercise in tranfiguration from real to imaginary.

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![La partenza è un gesto istintivo e immediato, diretto verso un materiale semplice e fisico come la terra...](https://narcisobresciani.com/images/recensori/fontana.jpg)La partenza è un gesto istintivo e immediato, diretto verso un materiale semplice e fisico come la terra

## [ Sara Fontana ](https://narcisobresciani.com/en/reviews/sara-fontana)

### SARA FONTANA

**3° PREMIO SCULTURA**

![](https://narcisobresciani.com/images/recensori/fontana.jpg) ![](https://narcisobresciani.com/images/arythmics/35_Untitled_06_Territmi_Earthrrythms_semirefrattarioossidismalto_dim_cm_34xh29x23_year2017.jpg)*Untitled n°2 della serie Territmi, 2016, semirefrattario + smalti e ossidi cottura 1220°, 36 x 30 x 24 cm.* 
La scultura appartiene alla serie “Territmi”, un capitolo recente della ricerca plastica di Narciso Bresciani, scaturito dalla manipolazione di terre semirefrattarie unite a smalti, ossidi e pigmenti naturali. La partenza è un gesto istintivo e immediato, diretto verso un materiale semplice e fisico come la terra, tra i prediletti dall’artista. L’obiettivo è l’approdo a un luogo onirico e immateriale, proiezione di tensioni profonde e individuali ma in verità universalmente condivise. In mezzo a questi due poli, vive la pratica laboriosa e talora imprevedibile della scultura, concentrata principalmente sulla forma e sul colore, sotto la vigile sorveglianza dell’artista.

La plastica di Bresciani si regge su un intrinseco equilibrio precario ed è costantemente in bilico tra architettura e scultura, tra forma chiusa e forma aperta, tra pieni e vuoti, dove il vuoto tende a riconquistare un ruolo attivo nel configurarsi dell’opera. Nella serie “Territmi”, in particolare, il tentativo di trasferire nella scultura le sensazioni tratte dall’ascolto di alcune sperimentazioni jazz contemporanee, dichiarata fin dalla scelta del titolo, si traduce nel sovrapporsi incalzante degli elementi, alla ricerca di nuove armonie compositive. Sono forme sottili, instabili, irregolari, intrecciate in un dialogo a più voci e vivamente colorate (blu, rosso, bianco, nero e grigio), distanti dall’ortogonalità orizzontale e dalle tonalità di bianco, anche mescolato a cenere, presenti in alcune serie precedenti. L’esito è una struttura in perenne metamorfosi, ignara di preoccupazioni mimetiche e protesa verso un’indagine sugli statuti della scultura, attenta all’ambito naturalistico senza tuttavia trascurare i risvolti sociali o di attualità. Lo spunto creativo di questa serie proviene infatti dai casolari in rovina ai margini della città, dalle dimore in cui l’uomo ha cercato riparo in ogni epoca: costruzioni primarie e al contempo classiche, che costituiscono un altro capitolo imprescindibile della millenaria storia della scultura.

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![It is an act capable of rising to pagan, Dionysian, immanent sacredness. As fingers free the dust from its aereal...](https://narcisobresciani.com/images/recensori/demetrio.jpg)

## [ Duccio Demetrio ](https://narcisobresciani.com/en/reviews/duccio-demetrio)

### DUCCIO DEMETRIO

**FOR NARCISO BRESCIANI**

![](https://narcisobresciani.com/images/recensori/demetrio.jpg) ![](https://narcisobresciani.com/images/metamorphosys/06_MetamorphosisDreamsSeries.jpg)Each gesture of the hand that shapes the earth to provide us with forms, echoes to infinity the gestures of creation that we never witnessed. Before a god ever conceived of man. It is an act capable of rising to pagan, Dionysian, immanent sacredness. As fingers free the dust from its aereal inconsistency, he who chooses this substance of the world gives back to it the words that it is unable to pronounce. He salvages its visibility. As he cuts through its crust entrails spill out; he curves, unfolds, then disperses them again in sandy handfuls. Animistic, cosmogonic or possibly theocentric myths emerge, dripping, flowing from earthy crevices, leaping out now dry, now fertile and fleshy. From the inertia of the soil, there is someone who redeems the inertia of things. A universal religion of the earth, inexhaustible and insatiable, wells up from those who accept this challenge. Not fearing any hubris. Narciso Bresciani belongs to the ranks of anchorites devoted to drawing substance from the ground, formulating questions of it as he alters its surface.

Seizing the moment when, exhausted or bored, tired immortals are dormant he replaces them. Not the sculptor who breaks the stone, but he who shapes, mixing, polishing, piercing, he still competes with the first day of creation, to take us elsewhere and beyond the seventh day. One who has turned to the earth to draw counsel, to make it the substance of his song, with his eros powerful and humble, has from time immemorial been its celebrant. He believes in the land for us, who are no longer able to hear the drenched smells of hay, the sighs of water within which bright motes flow; the whisper of seeds waiting to assimilate whatever humors be dissolved in it. He raises voids and places them back intact; he asks forms to be silent, so as to harvest their rustling; every living theme discovered to have infiltrated Gaia initiates us to a cult. His is a daily liturgy of time that becomes a ridge, a watershed separating before and after. His clays remain with us, because we cannot grasp them. The fingers that have shaped them, always know when to stop sketching. So his wisdom can rescue from the dark figures we could not see. Bresciani offers us crypts, tunnels, rhythmic dunes, tubular sequences. From his rocklike, but always lax concretions indications appear of broken memories, possibilities that have renounced all false illusion of eternity. Fragility flows impartial in everything he gives. He hollows out, gathers, piles up, stretches, lifts, perforates in our place; then penetrates between the scales of the surface, loosens rims, causes them to bubble with spent lava, grown weary of primordial chaos. As his gestures evolve they evoke what we were not given to see. His every primitive artefact, is destined never to own its identity. His meditation consists of incompleteness. This he knows and wants, even for us. Then he introduces us to the poetics of the instant that can extend to infinity. We see a shadow appear, entangled by mistake in a web of cartilage, scales, of vulvas. Regretting having ended up in the chain of incessant metamorphoses of what is even more alive, because it was never born... Sounding silences are what Bresciani builds for us, as he moves among his works, freed from an earthly prison we go elsewhere; to those crevices of the soul that are gradually closing, while what appeared sealed, is already preparing to breathe out new spaces.

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![Beating sculptures are those ones displayed by Narciso Bresciani in his exhibition where the...](https://narcisobresciani.com/images/recensori/cerritelli.jpg)

## [ Claudio Cerritelli ](https://narcisobresciani.com/en/reviews/claudio-cerritelli)

### CLAUDIO CERRITELLI

**CORPOREAL METAMORPHOSIS**

![](https://narcisobresciani.com/images/recensori/cerritelli.jpg) ![](https://narcisobresciani.com/images/metamorphosys/14_Untitled.jpg)Beating sculptures are those ones displayed by Narciso Bresciani in his exhibition where the leading pattern is the earth, such as inner matter disclosing the changeable forms of a plastic feeling, the ambivalence of full and empty, the unpredictable and precarious spatial balances. The way of thinking about sculpture is strictly related to the secret senses of memory, to the becoming of corporeal metamorphosis as a process expressed through the mutual interaction between the creative flow and the hand that reveals the form in its happening.

The visual identity of each work is a path of creative possibilities from which primeval condition of what is visible are produced, biomorphic elements that aggregate upwards or along horizontal lines of development, spontaneous proliferation of plastic units displaced in different ways in the exhibition area. The fruition is not only aimed to its plastic and chromatic outward visibility but presses the vision to face with the surface rifts, with the inner ghosts of the formless forms, with the unknown space of which sculpture becomes a temporary go-between. In the fruition of each work the point of view continually changes, in order to follow the fluid movement of the matter moulded and shaped by the artist who cannot help encompassing the empty, breaking the lines, superimposing the bits to highlight new balances or other matter overlaps. Thus, Bresciani seeks the tactile energy of the primeval instincts, the junction points between imagery allusions and abstract strains, scratches and cuts, basic procedures to reveal the body visceral conditions, the spaces hidden in the shapes magmatic flow. In this deep inspection of the unconscious, colours play an important role, as flaming vibes enveloping surfaces with strong polychrome marks supported by a technical skill that highlights its physical and perceptive qualities of the semi-refractory, gres, glaze, oxide and whatever alchemic transposition of the materials involved. The spontaneity of the act suggests this sense of spatial restlessness that characterizes the sculpture movements which sometimes are reckless, living matter made of fiery roundness, scraps and chippings, concentric whirlpools and sudden releases that reflect the artist's mood, the unpredictable dynamics of his mental energy.

Ed è qui, a mio avviso, che si individua l’elemento narrativo di questa scultura: quell’atto di trasformazione, quasi di metamorfosi, sembra compiersi sotto gli occhi del fruitore, quando invece è stato cristallizzato in maniera definitiva dalla cottura. Eppure resta l’impressione di un’immagine in fieri, di uno stadio intermedio di un processo che si sta compiendo. Queste sfere l’una accanto all’altra dentro un cavo più grande, oppure impilate l’una sull’altra in una colonna irregolare, non formano una natura morta, ma provocano una situazione dinamica: sta accadendo qualcosa anche se non si sa mai bene in che direzione stia andando. Lo stato di precarietà metaforica attivato dalla scultura, insomma, mette in moto un accadimento che si sembra svilupparsi per un moto interno senza bisogno della presenza umana, come un processo naturale che si compie in se stesso. In questo senso sempre Cerritelli osservava nel 2012 che «Bresciani cerca l’energia tattile delle pulsioni primarie, i punti di congiunzione tra allusioni figurali e tensioni astratte, lacerazioni e tagli, procedure essenziali per rivelare gli stati viscerali del corpo, gli spazi nascosti nel magmatico fluire delle forme». A maggior ragione, questo fenomeno si amplificava nelle installazioni di carattere ambientale, quando questi singoli elementi, nati provocando durante la modellazione delle lacerazioni nella struttura di sfere o ciotole o anfore, vengono disseminati sul terreno con varie disposizioni e il singolo oggetto, pur autonomo, non vale più soltanto per se stesso ma anche per il suo contributo a un insieme più ampio. In questo, come aveva osservato Flaminio Gualdoni commentando nel 2016 un altro ciclo di opere di Bresciani, i rilievi a parete lunghi e stretti degli Orizzonti, «non si avverte \[…\] il retrogusto della liturgia fabrile, l’offerta all’apprezzamento estetico. Son lavori, i suoi, che nascono nel lungo, concentrato, intenso, a volte digrignante ma mai fittizio, tempo d’anima dello studio: e nei suoi silenzi. Ed è un tempo tutto introverso, esclusiva, di pienezza interrogativa di sé». Nei Territmi avviene qualcosa di analogo: una aggregazione narrativa di frammenti inizialmente a base modulare rettangolare o quadrata, da cui prendono forma delle “capanne” composite di lembi di materia coloratissima che paiono tenuti insieme più da una forza di attrazione che da una coesione strutturale. Dell’architettura hanno conservato l’idea di una forma che si può vedere da dentro e da fuori, che ha un esterno non come limite di un volume pieno, ma ossatura che delimita uno spazio e consente di apprezzarne lo sviluppo interno tramite varchi aperti in più punti, come a voler spingere lo sguardo ad addentrarsi nel cavo perimetrato dalla scultura. L’insieme che ne deriva è dunque molteplice e pronto a rivelarsi sotto aspetti di volta in volta differenti a seconda del punto di osservazione. Non esiste, in fondo, un’angolazione privilegiata per un colpo d’occhio unitario: Bresciani suggerisce piuttosto di seguire l’avvitamento dei singoli lembi di materia intorno a un asse, come se un vento avesse azionato il meccanismo interno alla forma sottolineando lo stadio provvisorio di un assemblaggio su cui si sono formate delle concrezioni minerali, ma che sembra sempre sul punto di essere smontato e ricomposto, e che al contempo rimane sempre trasparente rispetto ai propri processi costitutivi: seguire la dinamica di questi frammenti che si depositano su una struttura e vanno a comporre un insieme, infatti, dà l’impressione di seguire le varie fasi di lavoro con cui l’artista ha assemblato la scultura. Si ha la sensazione che quel tetto di un blu intenso sia appena calato sopra quattro colonne per fare da copertura alla “capanna”, che quel colpo che ha strappato un lembo di materia ripiegandolo su se stesso sia stato appena inferto, insomma come se un improvviso schioccare di dita abbia improvvisamente animato ogni pezzo portandolo a fluttuare fino a raggiungere la propria posizione nell’insieme. Se si riflette sul lato tecnico dell’esecuzione materiale, tuttavia, ci si rende ben conto che non può essere così, e che questa impressione è un’intenzionale scelta di poetica. Basta infatti rendersi conto che la colorazione, che ha un ruolo così importante in questa ricerca, è sempre successiva alla modellazione, per comprendere la capacità immaginativa con cui Bresciani ha controllato il piano tecnico e quello formale garantendo al risultato finale il senso di una leggerezza e naturalezza inimmaginabili, come se tutto fosse stato semplice e immediato. Qui, come aveva osservato Gualdoni già nel 2016, si consuma una «contaminazione consapevole tra retaggi di codice» possibile grazie alla ceramica quando fa coesistere un piano plastico e “sculturale” con uno cromatico strettamente pittorico. I Territmi, in fondo, sarebbero impensabili privi di colore, perché verrebbe meno quel dinamismo insito nella stessa strutturazione narrativa dell’insieme. Ed è il colore, in fondo, l’elemento strutturante che chiarisce i rapporti tra le forme, sottolinea i punti di dinamismo e stabilisce gli equilibri compositivi e rende inequivocabilmente leggibili i ritmi e i movimenti. Per questo, forse, è arrivato a una colorazione timbrica, seppur attutita dall’uso degli ossidi e non degli smalti - pure utilizzati in passato – in modo da mantenere una superficie opaca che non tradisce la propria natura fittile ma anzi la evidenzia. Ma il colore ha una funzione ulteriore: stabilisce la temperatura emotiva gioiosa e conferisce all’insieme una declinazione ludica. A ben vedere, i luoghi descritti da Bresciani sarebbero inospitali per l’uomo: un’idea di abitazione troppo provvisoria per poter essere definita “casa”, ma con un’intonazione ludica che rende tutto più aereo e leggero. Si direbbero strutture fragili, sempre in via di metafora, per resistere al tempo, come sedimentazioni di un tempo precario destinato alla transitorietà: un moto interiore le ha portate ad unirsi, ma si immagina che un soffio di vento le possa fare oscillare, rendendole canore e danzanti sculture.

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