NOTHING TO ADD, NOTHING TO REMOVE. "These are the first words that come to mind when I see Sandra Santolini's watercolors, but they do not intend to be a critical judgment, linked to the discrete perfection of the plants that are portrayed; they are words that would like to intercept some thoughts, the choice of a setting I feel as a dress remaining the same both inside and outside of her person, an interior, transparent dress ". Massimo Pulini, critical text author.

Can you start from a blade of grass to interpret the world? Can the discovery of simplicity and, at the same time, the complexity of nature be a source of inspiration not only in art but in life also? 

Sandra Santolini seems to proceed with her watercolors on the groove traced by philosophers of the sixteenth century, such as Telesio or Tommaso Campanella who argued that one could learn more from small insects and simple herbs than from books. Even before that, the same approach was used by Albrecht Dürer and Leonardo Da Vinci, who, even when painting or drawing, proceeded empirically and analytically, as if he wanted to “embroider” nature.

Over the centuries, the story of nature through images has become less and less an artistic expression, the need not to proceed by additions or subtractions has led to the birth of real scientific illustration. 

The singularity of Sandra Santolini's watercolors consists in the fact that her works, although not intended for science, try not to add nor to take anything away from the rich but essential face of nature.
Her refinement is not of a classificatory, descriptive or decorative style as an end in itself, but represents a form-tale, which shows the charm and discretion of nature living without frills in front of our eyes. The artist has put a lot of herself into her works, her discretion and perhaps "took a lot out of the plants she had in front of her eyes, to simply put everything back in its place.