The site-specific installation, consisting of more than 400 white floral elements made of regenerated plastic, extends into several elements that occupy an industrial space flooded with light. At the center stands a great composition, candid and poetic, with a great scenic impact. Each flower is a unique piece. The material does not enter the molds but is modeled by hand, transforming a ‘repetitive’ material par excellence, such as plastic, into a malleable element, always different, never the same.

The lack of seriality, topos in the production of Cracking Art, is here returned by nature created by man which is reborn in a different form, which regains its own space and specificity, luxuriant, vital and rebellious to that homogeneity in which man try to force her. The term “nature” recalls something primordial, powerful and boundless, but also darker scenarios of exploitation, submission and control. La natura che non c’era therefore suggests the need for reconciliation between the human being and what he himself creates, imagines, thinks and produces. The industrial spaces of Tollegno 1900 are thus transformed into a locus amoenus that invites us to reflect on the indomitable tendency of nature to reorganize and regenerate itself.

The cornerstone of Cracking Art's works and installations has always been the recovery and transformation of plastic material with the aim of investigating the relationship between nature and technology, uniqueness and serial reproduction, individuality and stereotype, questioning the current and future condition of actions implemented by man with respect to the concept of sustainability.