For Damiano Colombi (Bressanone, 1994; lives and works in Venice), drawing is not an image, but a device for traversing and orienting oneself.
The pattern, the most recent element in his research, is a structure for spatial understanding: a form before form, capable of containing a volume that has yet to come into being.
His abstraction does not arise from a distancing from reality, but from an extreme synthesis of the landscape, compressed until it becomes a sign, a curve, an intersection and a chromatic field.

The landscape does not disappear: it remains as a structural memory, sedimented in dense, layered colours, traces of paths, coordinates and deviations.
The works thus construct open systems and mental territories, in which the landscape is not merely something to be observed, but something one moves within and through which one is transformed.

Housed in the premises of a pharmacy, the exhibition accentuates the diagnostic dimension of the work: the lines evoke clinical tracings and the superimpositions, scans or X-rays.
The backlighting passes through the sheets, rendering legible a landscape hidden beyond the surface. Acrylic applied to wax, too, behaves like a living tissue, resembling an organic fluid, a skin or a membrane in constant transformation. Drawing becomes an analytical tool that seeks to reveal not the appearance of things, but their invisible structure.

In this tension between map and organism, landscape and diagnosis, surface and depth, Colombi’s practice interrogates orientation in an age in which coordinates seem to be constantly slipping away.