Glenda Cinquegrana Art Consulting is proud to present
Elisa Benini, The Flower’s Movement
From June 14th to 27th, 2025.
On our Artsy page
Glenda Cinquegrana Art Consultingis pleased to present The Flower’s Movement, an exclusive online exhibition dedicated to the young Bergamo-based artist Elisa Benini, now available on our Artsy page.
“Flowers are born, dissolve their form, and transform before our inattentive gaze, while they truly grow, expecting nothing in return.”
(Elisa Benini)
Born in Calcinate (BG) in 1999, where she lives and works, Benini has for several years cultivated a painting practice based on gestural urgency and an empirical sensitivity to matter. Her visual language moves along the fine line between drawing and painting, between trace and body. Her works do not stem from a preconceived project, but rather emerge through the act of making, from an utter relationship with the surface and the gesture, as demonstrated by her 2024 diptych on canvas, Iris.
The flower, a recurring element in her work, is never treated as an object, but rather as a deposed movement, a temporal unfolding, a vibration before the dissolution. Far from naturalistic representation, her painting opens an atmospheric space in which the subject dematerialises, in which colour and surface play a role in evoking it. Each canvas becomes both an arena of action and a surface for understanding, crossed by a fragile yet intense energy, as fully shown in her oil-on-canvas diptych Blue Days (2024).
Post-war German literature — specifically the Trümmerliteratur movement — serves as a main poetic inspiration for the artist’s research. In those writings, ruins, remnants, and shadows of what once was can be found. In Trümmerliteratur writing, the language is seen as a resistance act, an attempt to restore dignity to words after their degradation, and to respond to history’s silence.
In the same way, Benini’s painterly gesture becomes both residue and memory, and a mark that endures after everything else has faded.
This is fully evident in her most recent work, Flowers Bloom (2025), where the painted surface acts as a metaphorical container for transitory states: the flower, no longer recognisable, retains only what remains, is the sensitive trace of emotional contact and the impression of the outside world.
