A flower that died in the mid-nineteenth century is revived in the performative choice of the duo Panzetti/Ticconi through a gestural language inspired by the iconography of original sin. The performance explores human guilt and the real or illusory attempts to repair environmental damage. The dancers, with their backs to the audience, begin to move slowly, covering their faces with one hand. Ambivalent gestures, like drying and crying, transform everyday objects—a green handkerchief—into symbols of atonement. However, the gestures also represent an unattainable solution, as the metamorphic object becomes a tool for superficial greenwashing, a phenomenon that characterizes our time. Reminding us of Lady Macbeth’s repeated and flawed gesture in her endless attempt to wash guilt from her hands, the performers repeat purifying gestures, but this is not the usual environmentalist performance. On stage, the subtle boundary between sincere remorse and bourgeois deception is revealed. In this sense, Cry Violet does not escape contradiction and does not take the most comfortable position. It remains in the question and responds with the concept of aesthetic guilt: advertising, almost seductive. The performers’ facial expressions are always marked by suffering, enhanced by the heavy and artificial makeup on their eyebrows, but especially through the emotional movement of the spirit that, through the body, empathizes with the tortured nature. The duo’s proposal not only denounces contemporary issues but also delves into the code of the funeral lament, which today is more oppressive than ever, until there is nothing left to be done.