pears as the pivot on which the entire compositional architecture rests in a close relationship between figure, gesture and colour; the artist structurally relates his inner world with the outer world through a narration where the images are dense with concepts linked to symbols and the basic abstraction has the capacity to welcome and involve reflective thought. The mangroves depicted, for example, embody the icon of strength and the will to survive in a reality that is in itself not easy, the affirmation of a life project even when conditions would exclude it. These plants have external roots that raise the trunk out of the mud to protect it and even utilise the brackish water by expelling a large amount of salt. Lauriola in this way indicates that our feelings must be high and deep, like the aforementioned roots, in order to move us away from the mud of exaggerated individualism; and we must take our cue from the filtering action of the plant's leaves or bark in order to remove all the residual waste of everyday life from us. In the dualism between basic abstractionism and figurative symbolism, the human presence is introduced by objects related to the sphere of everyday life that refer to a conscious enjoyment of the environment. Chairs, armchairs and interiors announce women and men without making them manifest, leaving the observer with a feeling of experience linked to his or her own emotional sphere. These objects also have another fundamental function in Lauriola's latest production. Through these, the artist invites us to stop, to close our eyes to enjoy the breath of creation and thus finally be able to see a new reality to be experienced in harmony with Nature. Carlo Ercoli 7
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