Within IN/FORM, the project transforming Sebino‘s spaces into a territory of dialogue between art and industry, the work of artist Tera Drop begins with observation. Not of the city, but of landscape understood as a living system — in constant transformation, capable of suggesting forms the human hand could never have imagined alone.

Tera Drop defines himself as a visual artist. His practice moves between murals, installations and sculpture, but what runs through all of his work is a precise visual world: the hybridisation between the natural and the artificial. It is the surrounding landscape that offers him his starting intuitions — an observation that is not documentation, but a trigger for something more complex.

At the centre of his research is an idea of collaboration that goes beyond the relationship between artists, or between art and commission. Tera Drop works to involve external agents in the creative process — atmospheric, natural, sometimes living organisms themselves. Production is never conceived as a finished act: it is something that exposes itself to the world and allows itself to be changed by it.

“The design of my works often starts from an interest in combining my production with an intervention from atmospheric agents or other natural elements — or even living beings themselves.”

His forms are organic, never geometric in the strict sense. And in this lies a precise position on error: in a natural system, imperfection is not a flaw but a direction. The mistake is not corrected — it becomes an indication, a fork in the road towards something unexpected.

“The form of error is not taken into consideration at all, since in my way of representing these forms there is more or less the same condition as error in nature. In the end, a mistake can simply be a point from which to go somewhere else.”

For IN/FORM, Tera Drop chose to create a kind of false bas-relief: a work born from the elaboration of images connected to water sources and the tools produced by Sebino. Not an illustrative tribute to the company, but an act of translation — taking what is functional, industrial, specific, and returning it in a form that belongs to the language of surfaces, of matter, of time slowly settling.

What struck him most, he says, was the freedom given to the artists in their production. A freedom that, in a space like Sebino’s — loaded with the logic of productivity and utility — becomes in itself a significant gesture.