Valerio Dehò

... In Gianna Tosello's work, too, we notice a desire for geometry, a need to give sentiments a stable and essential shape, a research of visual strictness which turns Art into something less emotional than we usually consider if.
On the one hand, mental associations certainly recall the mentioned artistic trends as well as Dutch neoplasticism. On the other ("and, I think that the strictly up-to-date meaning of these background assumptions is to be seen in an iconoclastic necessity (to use a historical term), which results in a need for clearness. Colours are elementary, constrasts clear-cut, and very often we notice transversal elements that seem to unite two separated parts of the work. Angles are mostly right and testify an explicit, pictured elementariness, a need to cancel compromises and grey areas. Shapes and colours are not abstracted from reality, they rather are re¬ality themselves, which is why they take on their own immediate concreteness. The minimal dimension of Tosello's work confirms this kind of interpretation, precisely because the artist-understood that her system of beliefs dwells in silence and respects the balance between seeing and sensing which Art should always possess.