“Stalling in Blown Glass,” inspired by the Aristotelian spirit often perceived as highly immaterial, traverses the typical phases of subliminal impulses and uncontrollable passions. It encourages the idea that what risks abstractly undermining the purity of both virtue and reason is unquestionably also what constitutes the steadfast foundation of the human universe. Ready to confront the magma-like issue that has always existed between the individual and society, laden with isomorphisms and open to possibilities, paradoxes, and extemporaneousness, this exhibition unfolds among the principles and directives regulating the corporeal existence of the human being in conjunction with the vital impulse of organic physiology. It underscores the enduring value of lovable vulnerability. According to these precepts, the notion of sharing emerges, a fundamental element of this exhibition chapter, reworked through the collaboration of artists Davide Ausenda and Laura Salomoni, who bare themselves to offer their deeply personal and real version of it, ready to inquire into important themes such as the depth of interpersonal relationships, sacrifice, the sense of responsibility towards others and the world, and the allowable threshold of transgression of obligatory principles, sometimes exceeded, sometimes observed. A blend of logic and epidermal receptivity thus roots itself in a fertile ground made of presence and absence, individuality and collectivity, emotional charge, and moral dilemmas. This is how Davide Ausenda and Laura Salomoni are finally prepared to share not only a state of fragility as such but the experience of fragility itself, inevitably calling them to mutually confront the sensitivity of the other. Therefore, the strongly desired choice to share this professional experience underlies the sealed desire of both to emphasize to the viewer their strong will to share that harmonious relational nature that has always characterized their relationship. What follows is a visual dialogue on equal terms, composed of painting and photography, in which Davide Ausenda looks inward while Laura Salomoni focuses outward, consecrating that moment when the two artists meet and then embrace an experience named fragility. Thus, “Stalling in Blown Glass” is composed: on one side, Davide Ausenda’s painting, characterized by fullness and emptiness, particularly devoted to minimalist purism, centring his practice on a process of reducing reality, radically distancing itself from any attempt to emphasize the objectivity of the work and markedly aesthetic virtuosity, allowing us to reflect on very complex issues without ever being overwhelmed by them. Space and time become increasingly rarefied, leaving room for stylizations, signs, and symbols whose disarming simplicity profoundly stimulates the imaginative hemisphere. On the other hand, there is Laura Salomoni’s diaphanous photography, to be understood as the result of a harmonious overlay, perfectly adhering, between light and one’s perception of it. Everything that is immortalized loses its fleeting nature as it is considered both spatially and temporally on a broader and more mutable horizon of feeling, tirelessly interconnected with existence. It is her very personal demonstration of trust in the intricate and ever-changing process of life in its flow, through which she prepares to feel herself and then project herself elsewhere, never alone.