Monitor Gallery is pleased to present Tacciono i fiori, the new solo exhibition by Thomas Braida, three years after his last solo show in the gallery’s Roman space.

Braida’s pictorial practice unfolds through visual and conceptual digressions, composing still life after still life to construct a narrative suspended between irony and metaphysical reflection. With references ranging from Gramsci (I hate indifference) to Wittgenstein (Of what one cannot speak, thereof one must be silent), from Moravia (The time of indifference) to classical painting, Braida delineates a world in which indifference takes form and chromatic substance.

The exhibition revolves around the recurring motif of flower vases, that “silently bloom” (Nanna or about the inner life of plants, G.T. Fechner): an inversion of the human-centric perspective, where it is nature that now exhibits indifference toward us. These are images in which the absence of organic life becomes emblematic of detachment. The flowers neither grow or wither — they merely persist, severed from their natural cycle. They neither engage nor resist.

A silent salon. Shiny vases, a panther hidden in the shadows, flowers arranged with an almost sacred care, and seemingly random images. Braida invites us into the house of indifference — a place where every object seems to observe without participating, and every painting holds an emotional enigma.

As Torquato Tasso once wrote, Silent woods and rivers and now, the flowers too are silent: mute witnesses to a reality that flows on.