Gombrich's The Sense of order inquiry over the nature of ornament and the history of decorative art, explores the relation between culture, arts and cognitive psychology, particularly Gestalt theory.

Gestalt, says Gombrich, has been the first perception theory to systematically oppose the ‘theory of the recipient’; the theory that posits that our mind starts like a “tabula rasa”, progressively carved over time by the passive recording of stimuli. Gestalt denies the possibility of an ‘innocent eye’. Our mind, our vision, are systematically alert of the contrast between order and disorder, monotony and variety, the unforeseeable and the ‘redundant’.
Perception of order is the underlying process which is at the root of the entire artistic experience.
Much of what surrounds us offers a constant solution of continuity, and in Gombrich sense, it’s far from being beautiful, it does not respect a good decorative scheme.

Unless we choose to look otherwise and start noticing.
Paying attention to detail, moving closer to things allows sometimes to detect unsuspected patterns and intriguing which invite the eye to travel around a meaningful shape or to observe, at a glance, some of nature's most perfect examples of visual symmetries and rhythms.

This photographic project, inspired first, by the discovery of the work of Ernst Haas (The Creation, 1971) and then of Alfred Stieglitz (Equivalents, 1925-1934) and Minor White (72 N. Union Street, Rochester, New York,1960), tries to locate the almost invisible line which separated fuzziness from artful decoration, nature from culture, boredom or confusion from delectation (or distaste).

“The most fundamental aspect of the aesthetic experience”, says Gombrich, “is that pleasure is located somewhere between boredom and confusion”.