And to Come Down (2008) and Laid in the Shade 1 (2008) both embody this disturbing reverie by presenting an improbable natural setting including gigantic flowers and mushrooms that evoke poisonous and psychedelic attributes. On the other hand, Maelstrom/After (2009) aims at an artificial architectural setting, by projecting forward a completely deserted staircase. In both cases, the choice of colours was critical, since it defines the intensity of the scene. Gabbiani finds extreme, audacious colours that contrast with one another to the point of triggering an almost physical reaction of rejection or fascination on the part of the viewer. She does not just play with a feeling of déjà vu, but also with feelings of “déjà-vécu” [already experienced] or “déjà-senti” [already felt], by reactivating an immediate perception in the viewer.
Faced with this carefully constructed universe, at the boundary of the familiar and the unknowable, one can only surrender to a perpetual utopia that is at once threatening and captivating.