IRIS - Serendipity 2






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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| €55 | ||
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Iris — Serendipity 2, an original acrylic artwork on Fabriano 300 g aquarelle paper, 51 × 35.5 cm (150 g), created in 2026, in excellent condition, hand signed, Italy origin, Naïve art style, sold directly by the artist.
Description from the seller
TITLE: SERENDIPITY 2
TECHNIQUE: ACRYLIC ON WATERCOLOR PAPER FABRIANO TORCON 300 g.
YEAR: 2026
Dimensions: 51 x 35.5 centimeters.
SHIPPING: IN A TUBE OR FLAT WITH ATTACHED CERTIFICATE OF AUTHENTICITY
IRIS's painting inhabits a threshold: the one between childhood and adulthood, between the gesture that surfaces and the word that does not arrive. Her figures do not tell stories, but hold states. They are gathered presences, often with a lowered or averted gaze, immersed in essential color fields that function more as emotional fields than as real spaces.
Color — saturated but never aggressive — is used as a psychological element: yellow, red, blue do not describe, but protect. They are backgrounds that isolate the figure from the noise of the world, creating a distance necessary for listening. The body, painted with a conscious fragility, is not idealized: it is traversed by imperfections, veils, interruptions that become part of the meaning.
IRIS works by subtraction. It reduces the context, eliminates the superfluous, and lets the posture and the inner rhythm of the image speak. In this process, Igor Verrilli’s teaching manifests not as a style, but as a discipline of the gaze: trust in slowness, in coherence, and in the responsibility of the sign.
Its painting does not ask to be interpreted, but to be inhabited. It is a place of suspension where time slows down and the image becomes a form of care: for those who look, but first and foremost for the one who paints.
TITLE: SERENDIPITY 2
TECHNIQUE: ACRYLIC ON WATERCOLOR PAPER FABRIANO TORCON 300 g.
YEAR: 2026
Dimensions: 51 x 35.5 centimeters.
SHIPPING: IN A TUBE OR FLAT WITH ATTACHED CERTIFICATE OF AUTHENTICITY
IRIS's painting inhabits a threshold: the one between childhood and adulthood, between the gesture that surfaces and the word that does not arrive. Her figures do not tell stories, but hold states. They are gathered presences, often with a lowered or averted gaze, immersed in essential color fields that function more as emotional fields than as real spaces.
Color — saturated but never aggressive — is used as a psychological element: yellow, red, blue do not describe, but protect. They are backgrounds that isolate the figure from the noise of the world, creating a distance necessary for listening. The body, painted with a conscious fragility, is not idealized: it is traversed by imperfections, veils, interruptions that become part of the meaning.
IRIS works by subtraction. It reduces the context, eliminates the superfluous, and lets the posture and the inner rhythm of the image speak. In this process, Igor Verrilli’s teaching manifests not as a style, but as a discipline of the gaze: trust in slowness, in coherence, and in the responsibility of the sign.
Its painting does not ask to be interpreted, but to be inhabited. It is a place of suspension where time slows down and the image becomes a form of care: for those who look, but first and foremost for the one who paints.
