They lie sharp-edged between folds of delicate silk. In fragments, they depict well-known landscapes and places in the memory of the artistic personality. They can exist here.
In Simone Ghin’s pieces, the broken fragments of glass act as allegories for the fragmented, personal memories of the past as well as the impressions of everyday life in the present-day. They are the landscapes from her youth and reminiscences of human souls.
In her works, Simone Ghin emphasizes the ambivalence of these memories through a variety of contrasting materials and colour gamuts.
The subject of her pieces is often the metaphysical existence of her protagonists.
Simone Ghin examines what are for her the essential and tangible, yet more so the intangible, features of the predominantly natural objects in her works. This is an analytical examination, which is achieved through means of abstraction, consistent non-objective work, the dissolution of homogeneous shapes and colours, and the use of diverse, contrasting materials.
A recognizable psychoanalytical component is often added to her allusions of landscape memories, which are coined with the traditional, romantic term landscapes of the soul: through the inclusion of shards of mirror, her speculum mundi, she occasionally and in a subtle manner invites the beholder to view themselves in a self-reflexive manner.