“Mirta Vignatti’s technical choices have got the same importance as the thematic ones. The elements of her compositions, the choices of her means of expression, her graphic declensions and use of the pictorial area represent a perfect outfit for the ethic body of ideas wich supports her paintings, a harmonic correspondence between signs and their denotations, signifié and signifiant. (…) Work in progress wich feeds itself transforming her personal experience into a universal one. Her paintings are the pages of a diary in wich she bares her soul, they are reflections, speculative directions all influenced by everyday revisions and corrections. (…)
In the work of the artist we perceive the vitalistic claim, that is respect of the multiplicity of life, of its proteiform essence, the deliverance from numerous evident and subliminal compulsions. We are facing the exhibition of discipline and energy used for the creation of univocity and the negation of vitality, in favour of a diversity of meanings and of an open structure, characterized by doubts and continuous reflections against the passivity and the sublimation of the enthusiastic aspiration of the human being. As a painter she finds an expressive value strictu sensu and that healthy route kindles our attention.” Alessandro Romanini, from “Parabolas between Ethic and Aesthetic”, introduction to the Catalogue “Mirta Vignatti”, paintings 2003-2006, Lucca 2006.
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