Sara Wilson looks at me with clear blue eyes and says quietly "Perhaps people no longer see the everyday things in life which are in front of us all the time"...it's as simple as that: we do not see. Maybe we glance at the thousands of images but we do not manage to concentrate. It is as though we are being shown a video tape too fast.

A primary function of painting invites us to observe - even the humblest of objects - a wisteria in flower or a pumpkin cut open showing its seeds. Such things provide direct observation of a part of our world, a direct contact with nature. In order to provoke some reaction, about twenty years ago I asked "Who's afraid of Monet?" At that time it appeared that Nature in Art was to be avoided, overwhelmed by ideology, conceptualism, the slick approach and over sophistication.

Today? Sara Wilson's painting changes the boundaries; she depicts nature with the intention of stimulating emotion. In her work she stands aside from history as a sequence of events in order to focus our attention on the basic cycle of nature, inspired by its very essence. Sara Wilson says "I try to put what I see onto canvas" and adds "I hope whoever observes my paintings will be able to identify with my feelings." Through these paintings nature can take revenge on what has for so long been seen as the vanguard but is now outmoded. At the most fundamental level, we are reminded man needs to recognise nature as the guide to existence.

Sara Wilson is English but left her native land at an early age in favour of the sunshine of Italy. Many might ask what quality she brought with her and the reply could well be, an innate desire to analyse everything. To an Italian this could indicate a refusal to discuss "culture" - no symbolism or allegory, no classical or mythological allusion - only direct confrontation with nature. From this derives a method of painting which I could almost describe as "Naturism", very close in a sense to "Verism" and "Realism" but with a fundamental difference.

This lies in the sentiment conveyed within Sara's canvasses: a subtle feeling of love, bordering on a spiritual fusion, we are being pervaded by a "taste for seeing". In other words, she opens our eyes to what truly lies before us. She asks us to experience the most profound atmosphere and essence, without feigning or pretence: the result is a clear image at both the physical and the psychological level.

Her vision is permeated from within with true emotion and with loving care. Blade by blade, colour by colour, leaf by leaf, we discover what we thought we had seen but had never really seen until now. This "revelation" is the magic of painting. That pergola with the table and chairs shows a moment of reflection, of serenity and abandonment to life, far removed from daily stresses and strains. Observe the shells on the beach, the grasses, the debris, stones brought in by the tide; each placed with care to encourage the eye to enjoy the rhythm of these small gifts of the sea. Note the fresh colour of the pumpkin on the old and well used straw bottomed chair. The dusty, rough material conjures up a sense of music playing around these simple things.

Music evokes emotion as does the painting of Sara Wilson. She might have been born on a wave of music which has accompanied her all through her life. What kind of music? Music laden with sentiment, burning with romanticism, perhaps Brahms! Listening easily becomes seeing, both have a rhythm, a cadence, "a rule" to guide them. Sara's paintings bring a new meaning to the "golden rule" of the ancients, encompassing the music of nature, its primal rhythms, the thrusting buds. We enter into nature's realm almost fearfully, step by step, then slowly, we discover, among the leaves and flowers, in the play of light and shade, that music accompanies us. Perhaps the artist herself is playing the piano.

Consider romanticism today: nowadays it is the young people who search for romance, away from the science and technology which increasingly appear to define our culture. Yet the search for simplicity, for essentials, for biological "truth", guides scientists just as much as artists. We all seek to clear the fog of chaos from around us in order to understand the deepest secrets of existence. Sara's art suggests that to release our feelings all we need to do is to find true identification within nature. At night she gazes at the starlit sky. From that amazing and still unknown geometry she can absorb profound meaning - a music to guide our perceptions and sensations. Painting derived from such inspirations is not just a hedonistic game, a simple pleasure in observing, it is also a need to enter into the great mystery of the cosmos of which we are a minuscule part.