For the spring 2022 program, Fondazione 107 stages two strong personalities from the Piedmontese artistic community: Lucia Nazzaro and Sergio Ragalzi and presents two personal exhibitions which, despite being exhibited in separate spaces, interact in an overwhelming way starting from the choice of the "palette" of colors : white and black, the favorite colors of both artists but in particular by the common desire to develop a research with the epicenter of man and, lastly and probably by chance, the multiple of 12, both present creations of 12 works.

Lucia Nazzaro presents a cycle of works created in 2021/2022, also for her there are 12 works , specifically, 120x120 cm panels, in which the artist for the first time also proposes her research on the human figure. Better, on the face of the human figure, inserted at the edge of each table.

Lucia Nazzaro resumes making art starting from the same point where she had interrupted her journey many years earlier and starts again from what she defines as an impossible dream to realize as she had idealized it: “the man with the eyes of jade”. Faced with the creative act, she realizes that it is impossible for her to create this contemplative work of pure beauty, absolute beauty, due to the limit, identified in the impossibility of finding a match in reality and therefore the consequent bitter conclusion. In all life, man is confronted with the limit but in fact he does not have a spiritual, mathematical or ideological limit, he can approach the limit or move away, he may or may not be ... simply nothing. Precisely. Doing all or nothing is pure habit or aptitude for mimesis. What makes the Nothing visible, for Lucia Nazzaro, is the perception or desire is the same, completely possible.

In the presentation of the limit Lucia Nazzaro starts from the numbers 0 and 1 to create geometries of thought. He constructs the square, idealized as an event of reason and there, he inscribes the circle, the mystery of spirituality. Inscribing the circle in the square "n" times the man is confronted with another limit because he realizes that, with that rule, he cannot go beyond repetition. It is not the desired answer. It must move, deny any point of view. While man's gaze, in fact, focuses on fixing the starting point of this vortex generated by the infinite repetition of circle and square, he realizes that the possibility of an elsewhere places him in front of something impassable that we cannot touch. neither physically nor with reason.