As noted in the curatorial statement: “Autumn has been depicted in many different ways in art, particularly in watermedia since its inception as a painting genre. It’s a mysterious time during which nature undergoes transformations, colors change, and night advances against the day. The word ‘Autumn’ has a long history in the Greek language, deriving from the words ‘φθίνω’ (fade) and ‘ὀπώρα’ (fruit), first documented in Thucydides’ writings in the 5th century BCE. It has been used for centuries to describe a transitional period. Notably, the Eleusinian Mysteries were celebrated during this time, as were the Panathenaic Games, marking the arrival of the goddess Athena, a symbol of truth triumphing over falsehood. Martin Heidegger introduces an interesting semantic framework for autumn in his theory of ‘ontological autumn’ in his work ‘Sein und Zeit’ (Being and Time), first published in 1927. In it, Heidegger explores time and existence and attempts to grasp the truth of existence (Dasein). According to his theory, human existence is a continuous movement between three temporal states: the past, the present, and the future. However, Heidegger acknowledges the finite nature of human existence and the inevitability of death. ‘Ontological autumn’ refers to the state of human existence that recognizes its finite nature, the inexorable movement towards death, and the changing nature of time. It signifies an acknowledgment of the world’s transformation and the transformation of the individual, preparing for a transition towards a more authentic and independent existence.“