I have always believed that the relationship that is created between a person and the places where they have lived generates a sort of perceptive imprinting that they will always keep inside themselves and with which they will observe the world. Today, part of my work consists in searching for those places that resonate in the work of an artist, and that reveal to us the intimate relationship between what he expresses in his work and that first imprint of the things that he carries inside himself. In Grizzana Morandi, in the Bolognese Apennines, there is the country house-studio of Giorgio Morandi, considered one of the most important painters and engravers of the twentieth century. With these words Morandi described these places: “Going up towards Grizzana, at a certain point there is a curve and there, when you come out of the curve, there is the most beautiful landscape in the world”. I was there for a few days, and I was lucky, because the light was very filtered by the density of the water vapor in the air, and it completely softened the shadows, a bit like I like it. My state of mind was perfectly in tune with those places. When I entered the house, in silence, I began to slowly discover the different rooms, stopping to listen. The lady, who had opened the door for me, was waiting in the entrance hall because it had started to rain lightly. Time was as if suspended. The bedroom, the kitchen, the bathroom, a corner of the wall, a branch blurred by the rain, spoke to me of Morandi exactly as his works do. A sort of visual acoustics was gradually emerging, shifting my attention to the environments in which he had lived rather than the more well-known ones where he had worked. Moving within the horizon circumscribed by his daily life, in that timeless light, was like listening to the voices that had spoken to him and that continue to resonate in those places.