Lalla Lussu’s artistic quest aims to investigate the potential of paint to generate the unexpected, to determine rhythms, forms, geometrical shapes, structures and spaces that did not previously exist. The artist’s practice, procedural by nature, is based on free application of paint directly onto the supports, generally fabrics in jute or rough linen. These are then processed, pleated at uniform distances to render them agitated, cadenced and three-dimensional. This sculptural manner, contrary to the usual two-dimensionality of the pictorial image, is further strengthened by the installation of the work, not on a wall, but freely in the middle of the room, starting from the ceiling. Lussu thus overturns the logic of the work as a contemplative stasis to be observed frontally, and sets in motion interactive potentials. The spectators, in fact, have to move in a zigzag manner around the elements, as if walking in a wood, touching the surfaces with their bodies or delicately setting the fabric aside with their hands. Her forest is an imaginary one, inhabited by coloured trees, of which the surface, the roughness, the ripples and the perfumed bark are magically suggested by the canvas. The observers are invited to grasp the details by walking in the middle of it, moving freely like explorers venturing among the trees and losing themselves among the vivid colours of the tropical forest.