‘The exhibition presents a series of relatively disparate paintings by this young artist from Milan, and can thus be considered to be a comprehensive anthology of her recent work. Fornasieri paints with an indefatigable effort and energy which appears even more impressive when considered together with the incessant quest for beauty which characterizes every single work. The driving force which brought these paintings into existence transpires from each of them, colouring the mystery which bestows objects with the right to be where they are, to join together as they please, to be as they are, and to partici-pate in the event which created them. Even where human figures are not actually portrayed, the paintings bear witness to their recent passage or sojourn. The onlooker is privileged with a profound insight into the nature of the objects depicted, and is able to share the sensations of the artist when they are seen. «Everything is seen from below, in foreshortened perspective, and both the artist and we ourselves seem to be crawling on hands and knees, looking upwards, from darkness, from the outside towards the harsh and radiant warmth of the dwelling, which is unconquerably protected by its ardent intimity, as if it were satura-ted by the almost invisible but powerful presence of the person, leaving no space for any kind of intrusion. (….) The device of gradually advancing into the interior of an inhabited place step by step, was a time-honoured hallmark of Flemish art. However, the evolution of pictorial tradition, from this period until the nineteenth century and even beyond, evokes the sensation of a progression in time visualizing and taking possession by means of a succession of small discoveries. Thus, for both artist and onlooker, the process is essentially analytical, and produces complete identification with the sur-roundings. This is not the kind of emotion which is generated by the works of Fornasieri. In fact, in the vertiginous perspective and the luminous presence of the objects created in the turgid signs left by the palette knife, the scene is revealed in an instant, in its entirety, with an aggressive vitality, but we remain external to the whole, watching from the threshold. The sense of intimity which has been displayed and laid bare may not be violated. ( …. ) Fornasieri observes and records with a kind of candid pugnacity. Her style of painting is not an ulterior con-tribution to the internal discussions of the world of art; instead, she uses her abilities as a genuine means of expression. She has, in fact, a lot to express, and she masters the medium rather well, even in a material sense. Her whites, greys and blacks seem to talk, and every picture is alive with colourful vitality. These are not works which one can observe without paying considerable attention.» Rossana Bossaglia – Monza 1989’