Within IN/FORM, the project transforming Sebino‘s spaces into a territory of dialogue between art and industry, the work of artist Elisa Veronelli begins with color. Not as a decorative choice, but as a thinking tool — an element that shapes space, alters perception, and determines the kind of presence a work can allow itself to have.
Veronelli defines herself as a painter and muralist. Her training in oil painting has left a precise mark on the way she approaches any surface: transparency, the layering of light, the sense of depth that emerges from overlapping chromatic fields. These are not technical details — they are the core of her research.
“Color is definitely the central element of my work. From oil painting I brought with me above all the transparency effect.” But in her work, color does not act alone. What activates it is the dialogue with architecture. Before even picking up a brush, Veronelli observes: she reads the edges, the soft or rigid surfaces, the light that enters and the light that stays. The work is not applied to space — it is born from it. Each intervention is the result of a continuous conversation between mark and context, between what already exists and what is added.
“The architectural exhibition context is another fundamental element — in fact, I’d say it’s precisely what defines my work. It’s the forms present in the space, the sharp edges or the softer shapes, that interact with the work itself.”
The question of chromatic register shifts depending on context. Outdoors, Veronelli allows herself more intense color; indoors, the guiding principle becomes subtraction — ensuring the work is present without becoming heavy. It is a delicate balance, one that demands a careful reading of the space before any painterly decision is made.
For IN/FORM, this principle met an unprecedented context: that of a company, an
