Maniacal in their analytical precision, the drawings by Nicola Toffolini (Udine, 1975) are the result of a surprising use of physical and mental energy: the extreme precision, the calligraphic detail, the obsessive attention to detail testify to a voluntary "waste" of Strength. An aptitude for drawing that requires time and concentration, fundamental elements of manual production, and a dedication to seriality that borders on alienation.
Toffolini carries out an internal reflection on the representation, adopting compositional methods on a graphic level that reflect the installation projects, authentic architectural structures that accumulate narratives and surreal elements capable of making the viewer participate in their practicability and their depicted elements.

In the universe described by the artist, the images alternate like layers of the earth's crust, they are the magma of an unknown world in which nature remains as a pure fetish: gradually, the drawing reveals its independence from natural laws and order is transformed. in magmatic movement. The presumed mimesis of representation appears for an instant, but the space of indifference of these objects is of such intensity, of such alienating power as to cancel and deprive of meaning any possible search for verisimilitude. The representative datum is almost lost to pure objectuality, it opens up a pure space in which the orthogonal flatness of the representations becomes a restrained power that disperses the concept of right and left.

The unmistakable, "performative" approach that the artist addresses to drawing is an event capable of redefining the viewer's experience: observed at close range, almost experienced from the inside, the works make the encounter with the work a dance physiological and instinctual, they literally allow you to travel through the ages. Visions of a near and longed-for future, echoes of Renaissance engravings, references to the practice of scientific illustration: in Toffolini the historical-artistic references are innumerable, and they ask only to be revealed.

And the artist's works are just that, at Fondazione 107: an invitation to a convivial meeting, a déjeneur sur l'herbe that surprisingly overturns the role of man in front of nature. On the tablecloth of this singular picnic we are ants, tiny but curious guests, who enter the hollows of the earth eager to understand its most intimate secrets.