La Linea d'Acqua addresses the theme of memory through an intimate and metaphysical research on the transience of things, and the elaboration of loss. The work finds its origin in the memory of the Polesine flood of 1951 that marked a before and an after of peasant culture, leaving an indelible fracture in people and places. Sara Palmieri reflects on the territory and its ability to contain traces. The river, the landscape, and the tales of those who were there are devices. The image is a perceptive surface where opposite dimensions meet: visible and invisible, past and present, abstract and concrete, fluid and solid. The impossibility of memory to faithfully hand down the history and that of the landscape to preserve visible signs generate matrices that change like echoes of an imaginary Morse code. Minimal gestures to extract from oblivion the traces in dissolution.