Despite the distinction that characterizes it, the Vertical Line cannot exempt itself from the comparison with the horizontal one. By presenting this two-person show, Studio la Linea Verticale gallery aims to be the spokesperson for the ambivalence between opposites, the bi-unity of Being, employing the work of two artists who contemplate precisely the morphology of a visual horizon that is entirely spiritual. The extremely subtle vertical and horizontal incisions that naturally arise at the meeting between the carmine dawn and the sapphire sunset by Francesca Dondoglio are sublime thresholds to other highly immaterial worlds, true distant horizons of ambivalent passages. The binary code of the Turin-based artist is the exact opposite of the computer one; far from technology, it concerns colors with a greater impact on the Soul. Blue and Red, like High and Low, White and Black, Life and Death, are inseparable siblings. Rudolf Steiner states in one of his lectures: Light, seen through darkness, is red, and Darkness, seen through light, is blue (1). If united, these two primary colors constitute magenta, the symbolic tint of coniunctio oppositorum, so, in her incredibly saturated pastel bichromies, Francesca demonstrates a balance close to Eastern wisdom. The abstract and astral landscape offered through the painterly windows immerses us in the Kantian feeling of the Sublime, which, trapped in the violet intercavity between below (sub) and above, throws us into the liminality of perception. Is it dynamic or mathematical sublime? A middle way… The site-specific installation carved into the gallery space by Giovanna Caimmi disrupts us and makes us lose both the sense of Space and the sense of Time. This imaginative slit, which runs horizontally and uninterruptedly through the four cardinal points, breaks through the walls to allow us to observe, from our small ordinary world, the Reality made of-sign. Wandering in a context as spatial as it is temporal, with each turn of the gaze or each step, we find ourselves among past anticipations, absent presents, and lost futures. The faded colors of these subtle collective memories of the future, of which the artist acts as a messenger, overcome the opalescent white of the paper and the sooty black of the past. North, East, South, West... the 360 degrees of Giovanna's horizon emphasize, in reality, the presence of a fifth and fundamental atemporal cardinal point that metaphorically and vertically rises in the center of the room: The "straight way" here is not to wander east or west; it is to climb to the summit, to tend to the center, it is the ascent outside the cartographic dimensions, the discovery of the inner world (2). One with color, the other with the sign, Francesca and Giovanna reach the summits of artistic intent, demonstrating that there is a horizontal apex and a vertical horizon, and that, sometimes, a landscape can be a passage beyond our dimension. ​ (1) Rudolf Steiner, L’Essenza dei colori, Editrice Antroposofica, Milano, 2013. pp.144,145. (2) Henry Corbin, L’uomo di luce nel sufismo iraniano, Edizioni Mediterranee, Roma, 1988. p.11.