If by chance you pass from Lucca, go and see the exhibition Tempo sospeso, of two young artists, Emy Petrini and Beatrice Speranza. Emy Petrini is a floral designer, Beatrice Speranza a photographer.

The “Rifugi” created with long branches of willow by Emy, the photographed details of the forest and assembled in small walnut boxes, as well as the heavens photographed by Beatrice Speranza create in this small and beautiful country church a unique atmosphere. Skies, refuges and forests are words that bring to mind the wanderings of the wanderer, a theme dear to the aesthetics of the nineteenth century romantic. For the romantics was a lonely and nostalgic to go, instead wandering I see evoked in the works of Beatrice Speranza and Emy Petrini is exactly the Time Suspended. Dense time, inextricably linked to the creation and re-creation, in the sense of a new mood that is created in the wayfarer. The wandering is an end in itself, no matter the destination. Is the time of listening and of vision.

René Char, (born in 1907 and died in 1988) is, in my opinion, one of the poets who has best been able to tell the the time suspended; his poetry has a delicate quality to bring up the time with its ambiguous power of the destroyer and regenerator. It ‘a poem that makes something happen in a space free from the time-spatial categories we are used to (now, tomorrow, yesterday). Char has lived and created in nature; with wit, intelligence, attention and compassion went through forests, rivers and meadows of his Vaucluse in southern France.

In my old edition of Poetry and Prose I find these words: “I walked among the humps of soil cleaned up, the breaths secrets, plants without memory. The mountains rose, the vial fills shadows, that at times the gesture of thirst gripped. My trace, my life are lost”. And still: “Each of us can receive / The part of the mystery / Without spill the secret”.

These two artists work together, but each has such mastery of their creativity not to be influenced by the art of the other. On the contrary: their jobs dialogue from opposite poles.
The work of Beatrice Speranza are small, square, angular. They need a meticulous hand. A gesture too impulsive and spreading wax on the photograph where it should not. The clouds are caught in the moment of disappearing forever, and paraffin confuses them. Other images intervened with a wool yarn, to embroider a detail. Walking in the forest the needed attention, concentration, openness to listening to its surroundings, so that the perfect moment did shoot your finger on camera. After covering the nature, I imagine Beatrice in the solitude of a small space where he works photograph recreating the gesture of the lace, passing the thread through the sensitive surface. Or I see it spread the wax on part of the photo to create a “Sepia” effect in a detailed, careful maneuvering incandescent paraffin, to give the clouds a veil of infinite distance rendendocele, paradoxically, more intimately close.

Here it has a strong and decided gesture of Emy, the one that fits and sticks, bend her willow made elastic for days in water. I see her sullen determination to move forward despite the fatigue. Emy needs space to create. Scrambles, hugging his sculpture, raises, lays her. Her refuge is the result of a physical fatigue. Its large vegetable sculptures have no sharp edges, they are dominated by the vortex that surrounds; It concluded in their lightness but there is no trace of fatigue.

text by Margherita Loy (Il Fatto Quotidiano)