Within IN/FORM, the project redefining the spaces of Sebino’s headquarters, the intervention by artist Letizia Prestipino develops along a subtler, almost suspended trajectory: that of memory. Not as a static recollection, but as an image in motion, capable of emerging through color and light, just as happens in the landscapes that inhabit her pictorial research.
Colors of Memory. Back from Berlin takes shape from a personal experience, a work born from a crossing and a return, from a precise moment: the dawn seen from an airplane over the Alps, shortly before landing at Orio al Serio. An image suspended between distance and recognition, between the journey and its completion, which becomes the starting point for a broader reflection on landscape as an inner space.
In Prestipino’s practice, the sky and atmospheric elements are never merely subjects, but emotional devices. Her painting is built through chromatic stratifications, where light and color settle until they generate a perceptual depth that escapes the purely visual dimension. The landscape thus becomes an experience, a threshold where memory takes shape and becomes shareable.
Within Sebino’s industrial space, this research enters into dialogue with an apparently distant context. On one side, technical precision, structure, function; on the other, the atmospheric and unstable dimension of the landscape. It is precisely within this tension that the intervention takes place, constructing a system in which art and industry do not oppose one another, but reflect each other.
The installation develops around a specially designed display structure: a shelving unit painted in RAL 3000 red, the identifying color of the fire-protection systems produced by the company, which holds the works while making both their front and back visible. In this way, the painting is no longer only an image, but a constructed object, revealed through its frame, in a direct parallel with the industrial infrastructure that hosts it.
Prestipino’s gesture is therefore not only pictorial, but also conceptual: showing what usually remains hidden, activating a double reading in which the painted landscape and the structure that supports it coexist. It is a method that transforms the production space into a field of resonances, where nature and artifice continuously intertwine.
The tripartite structure of the installation further amplifies this dynamic. On the sides are two works from the Colors of Memory series, while at the center is a grid of smaller-format works from the Open Field series. Here, the theme of reuse becomes central: the paintings are in fact born from discarded silkscreen frames, recovered and transformed into new pictorial surfaces, charged with a material memory that adds to the visual one.
This process of reappropriation introduces another layer of interpretation. The supports, originally destined to be discarded, become an active part of the narrative, while the painted landscape hovers between the real and the imagined. It is a continuous shift, in which every element carries with it a previous history, absorbed and reworked.
In some works, fragments of the fire-protection system designed by Sebino also appear. An iconographic insertion that definitively breaks the separation between the two worlds: the technical infrastructure enters the space of painting, while the landscape welcomes it, transforms it, and makes it part of its own visual grammar.
