"It's a painter's duty to be completely absorbed in nature and use all his intelligence to express sentiment, so that his work is intelligible to others", wrote Vincent Van Gogh, an extraordinary lover of drawing intended as the genesis of every pictorial work. Faithful to the same conviction, the contemporary artist Massimo Turlinelli makes the architecture of all his work from rigorous drawing, that magical and alchemical project through which it is possible to give body to an image by tracing signs and lines on a surface of support; and it is no coincidence that Turlinelli, who improvises nothing, draws the precious subjects-objects of his works directly from nature. Fields or skies, above all, he offers them to the viewer in infinite possibilities and then, fruits, pines and cypresses seen from near and far, whole or sectioned, upside down. Sometimes, the reference image is completely lost in the background, and gives way to tangles of colored and indistinct threads with a strong visual and also emotional impact. Using exclusively red, yellow and blue pencils, the artist marks the relationships between shapes and space, while the colors change according to how they are juxtaposed, or superimposed, and according to the intensity with which they are applied. Aware of the time it takes to create his complex representations, Turlinelli seems to want to recall the viewer to a meditation intended as a return to oneself, to the distance between what it is and what it seems: his drawings, which the eye can 'to perceive as paintings, they have the flavor of letters never sent, used to metaphorically describe a perfect dream, known and in any case mysterious, interrogated at length and then staged 111 times. With passion and patience.