There are many concepts and themes that can describe the reciprocal works of the artist Manuel Mérida and the designer Pietro Franceschini. A long and meticulous research on serendipity for the first one, and a playful reflection on artificial reveries for the second. But if we had to point out a common ground for the two creators, it would be that of Porosities.

The work of Mérida is materially porous, and this porosity is at the origin of the infinity of faces that his pieces take on over time. It also concerns the creator, who through his diverse career as a painter, decorator, designer and scenographer is at the crossroads of different creative professions without ever having a fixed, impermeable boundary. The porosity and the creative dynamic of Franceschini is also marked, since his career has seen him in turn architect, decorator, and designer. The porosity of his creation is rooted in a sculptural design that is both furniture and work of art, pieces with functionality but also with a facet that escapes all utilitarianism, elevating it to the rank of artistic sculptures.

The dialogue woven by the Meyer Zafra and Philia galleries questions this concept of porosity between two generations of artists, between different artistic worlds, those of painting and sculpture, but also between art and design.