The water, a physically vital element of the expressive medium of the acquerello, is the protagonist of the exhibition inaugurated yesterday at the headquarters of the Banca Popolare di Lodi Foundation, also from a thematic point of view. The reasons for the images that make up the staff of Alessandra Frashini of Casalpusterlengo are in fact those of the most widespread landscape tradition, with a recurring presence of water in the aspects of the marine, rivers and irrigation fields of the plain. Meeting under the explanatory title “Mirrors of Light”, the approximately twenty works visible until 1 October (from Monday to Friday 9.30-12.30 and 15-16.30; on Friday closure at 4 pm) they speak for the author of sensitivity and sure ability in the drafting of the color: her “training of passion”, as in the inaugural seat, called her Mario Diegoli, curator together with Mario Quadraroli of the festival, was consolidated with a series with a series of courses, including those of Angelo Gorlini in Milan, and the others in Urbino, where he participated in the editions 2024 and 2025 of the International Ancquerial Festival. Lightness, fluidity, light are in the most successful works, where the description of the detail is overcome by the synthesis that reaches the limits of the “non -form”, as in the painting “The magic of the night”; Light transmitted by transparencies and by the linguistic choice to involve the white of the paper-upport in the expressive construction of the work, obtaining flashes and brightness effects. Introduced yesterday by Paola Negrini, head of the cultural activities of the Foundation chaired by Duccio Castello, the exhibition is included in the “Art in Atrium” series which makes the presence of well -known and lesser known art paths follow in the exhibition space. At the basis of the convincing reading that of the works gave the curators, the detection of the falling in love for the nature for the nature that is perceived in each image, transmitted thanks to the long exercise of the painting started with the use of oil and oil pastel colors. Of the latter medium there are still traces in watercolors: a need to maintain in the lightness of the images, explains the author, also memories, albeit very measured, of delicate materiality.