"Art does not seek to represent the world, but to open us to new ways of seeing and experiencing."

— Gilles Deleuze

In a reality oversaturated with visual stimuli, where the gaze slips without pause, Delfina’s work rises as a threshold: her pieces are not meant to be mere objects of contemplation, but triggers of sensory experiences—devices that transport us beyond the apparent, beyond the superficial.

Lucio Fontana, with his famous slashes on the canvas, broke the two-dimensionality of painting to reveal an infinite space, a hidden dimension that transcends matter. Similarly, Delfina explores the possibilities of perception as an expanded field, where the eye ceases to be the sole mediator of the aesthetic experience. Her works, conceived through hybrid processes between scanning and 3D printing, disrupt the traditional notion of form, proposing a tactile encounter that resonates with Fontana's idea: the artwork does not end at its surface, but projects into a boundless realm.

The eye distracts in its insistence on grasping the immediate; it slides over the image without delving into it. Delfina subverts this dynamic: her practice invites pause, contact, and a perception that involves the body. Her work does not impose a single reading nor seek immediate answers; rather, it opens a territory of uncertainty where touch becomes a form of knowledge and interaction a process of constructing meaning. Deleuze taught us that the image is not a reflection of the world but a vibration that moves us, uncenters us, and forces us to look again. In the same gesture, Delfina leads us to cross through the work, to discover what lies beyond the initial visual impact, to understand that perception is not a passive act but an exploration without limits.

To see is not merely to look. It is to go through the image, to allow the aesthetic experience to shake us. Delfina calls us to that passage: to abandon representation in order to find, without a distracting eye, new ways of feeling the world.

— Silvina Amighini