The artists meet for the first time in the gallery: two practices, two researches and two existences that run parallel on two sides of the world, London and New York. The protagonist of this duet is the body, present in its absence. It can be perceived in Benshimol Toro’s sculpture-installations, which play with everyday materials, and in Moriconi’s pictorial compositions, where the hidden ecosystems of human and natural anatomy take shape. The exhibition project stems from this exchange, a dialogue that develops into a narrative suspended in time, moving in a fragile balance between personal experiences and universal dynamics.

Isabella Benshimol Toro, with her floating vitrines, freezes in time actions, gestures and impressions reminiscent of an ordinary domestic life. Used clothes, crystallised in resin, emerge from the gallery walls, displayed in what the artist defines as “monuments to the unconscious”. The focus here is on what we don’t see, on the reality hidden within the body, on the perception of an intimate and elusive feeling sparked by the appearance of the everyday. Resin, a central element in the artist’s poetics, becomes the agent that
allows moments and actions to be suspended, making them visible through its transparency. Through a rigorous process of material experimentation, Benshimol Toro transforms the disorder of life into original compositions, reflecting on how a shift in perspective can influence the meaning of reality itself. The absence of a body, a place, and a defined time opens up a space for interpretation, allowing everyone to rediscover traces of their own daily lives.

Emma Moriconi’s canvases are the result of an interdisciplinary research that intertwines the body, as an emotional entity, with medical-scientific images. They give shape to what lies beneath the surface, to the intricate and invisible structures that regulate human and non-human life. The interior of the body and the tissues that compose it are revealed in rapid strokes that recall calcified caves, sediments, organic landscapes where colour and light map an invisible anatomy. In the series of works that outline the two floors of the gallery, the artist explores the tension between life and decay, between presence and absence, starting from her personal experiences, from the visual suggestions of ultrasound images of her reproductive organs and her mother’s heart. Indeed, the ultrasound image is transformed from a clinical and mechanical process into an intimate and emotional experience. The works reveal themselves in their materiality: the ripples of the jute canvas, contrasted with smooth surfaces such as linen or wood, seem to reflect the different textures of the human body. By focusing on what is hidden at the molecular, cellular or geological level, Moriconi reveals the secret mechanisms essential to the organic and inorganic world.

In the gallery space the works of the two artists, despite their individuality, seem at times to overlap. They uncover thematic resonances and compositional affinities: an inquiry into the possibilities of matter, a continual striving toward light, and a practice intent on transcending the confines of painting and sculpture.