Some metaphor theorists argue that all languages are completely metaphorical, that there is no such thing as a literal language. All words were once metaphors, and the first people who gave names to things were poets. Language is a subjective experience based on individual strategies and variants of language application. The ability to speak to the other in a particular situation arises spontaneously and chaotically, rather than dictated in advance by social convention. Our linguistic memory is elusive cloud storage where the flows of language material are constantly updated and reorganised, providing us with many associations and opportunities to express ourselves. All rhetorical tools are used not only in the field of verbal messages but also in visual effects. Images are even more mobile, blurred in their outlines and plastically elusive constructions than grammatical forms and phonemes. They have the ability to interact and self-organise into a certain set of impressions and build relationships between these sets. The artistic process presents its results universally, in the form of sign systems. Thus, artistic signs that seem isolated at first glance are not in fact isolated because they are all, at least potentially, if not actually, related to others. Many metaphors eventually lose their poetry and become dead, or petrified metaphors. But they retain their remarkable ability to represent an object, event, or idea that is not necessarily present in the same space at the time of expression. This fundamental ability to point at something that no longer exists or never exists existed at all distinguishes art as a language from other ways of expressing yourself. In their works, participants of the Art Seasons. Verbalisation exhibition project reflect on open communication, common meanings, defects of perception, and freedom of expression. Young Ukrainian artists offer their own concepts of sign perception and mutual understanding considering language as an imperative system of behaviour constituted by orders, questions, requests, and appeals. The same combinations of colours and textures give different results in terms of clarity and expressiveness. This observation confirms the dialogical nature of art, namely the need for the copresence of the viewer and the work of art in order for meaningful communication act to take place.