Lynne Tobin’s recent work explores the language of drawing, using thread, string and ink to create work on paper. Searching for a freer, less self-conscious way of drawing a line, she began dipping these flexible materials into Sumi ink, investigating their physical properties.
In her Threads series and her scrolls they create spontaneous marks which contrast to the repetition of careful linear patterns. Drawing fully from every-day rituals and  textile crafts traditionally associated with women, her peculiar artistic practice results in tactile surfaces where the drawing process is simplified to its basic elements. In this way a truer and more immediate expression is allowed to emerge.
Meditation and revelation shape Tobin’s poetic works, setting up quiet internal spaces that the viewer is invited to explore.

Fred Duignan is on a spiritual quest, cracking open his Catholic heritage into painterly fragments, allowing the colour to flow, skein, drip, puddle, ignoring all rules. Driven by primal personal experiences he faces a journey in finding himself, creating images that resonate with struggle, eros, and spirit and include a wider perspective on social issues.

His art is fueled by the longing to transcend chaos, both the chaos of picture making and of life itself.

Space and drawing, installation and object are at the centre of Nina Annabelle Märkl’s artistic practice.

Interested in the permeability of states of mind and in the nature of human perception, she develops disruptive modular settings (scapes) in which objects and drawings combine, leading the viewer to unveil a new perspective on reality. Walking through these spaces visitors experience the ambivalence of the world they inhabit and are therefore invited to question the sense of security given by a defined vision of it.

As there are no forests in Venice, the Venetian dialect phrase for “foreigner” is “foresti” or “someone from the forest”. I Foresti, a group exhibition at Castello 925, plays on that vernacular expression as these American artists are not only foreigners to Venice but are inspired by the materials and rich textures of the forest.

Kaethe Kauffman meditates on the unseen systems of forest growth as well as on memories of the calm, steady presence of individual trees throughout her life. Kauffman’s most recent series of prints on paper and silk not only explores the individuality and spirit of trees combined with the physical movement of walking through nature, but then captures this sensation with the meditative movements of drawing. These artworks, in turn, are transformed into prints on silk banners and on paper mounted onto wood panels. The lightweight fabric installations act as thin veils of consciousness.

The exhibition reflects on the living condition of the Venetian lagoon and its peculiar contingencies, adopting a critical-ironic approach, and developing a chorus of narratives and alternative devices.

Martin Weinstein’s paintings of Rome, Venice, and Lucca illustrate a certain time and a certain experience had by the artist and his partner on their travels throughout Italy.