Called to question the essence of art, Guendalina Urbani exhibits four works that leave no room for doubt about their interpretation. In addition to the various historical-social themes that can be identified in the curator's observation of her work, from the idea of existential precariousness to a more or less explicit judgment towards contemporary society, what we must above all analyze and highlight in depth of these works, is their strong expressiveness. The title "Perception" in fact underlines the capacity of Urbani's work to be perceived by the observer. And not only in those strictly thematic terms that I suggested before, but above all in visual-tactile terms. If the task of an artist is to create a distinct reality parallel to ours in order to convey his personal manifestation of thought, this reality must be as recognizable as possible as authentic and plausible, and ancient art teaches us that one of the most useful means offered to the artist to achieve this result are tactile values. Similarly, the works of Guendalina Urbani, thanks to a very intense expressiveness, are able to convey certain sensations such as pain in the case of the "toothbrush", or noise in the case of "crack". So the personal reality created by the artist we were talking about above, becomes more than ever perceived as authentic and true, because authentic and true, I dare say real, are the feelings we feel. Now that the work is accepted in its real concreteness, the viewer begins to wonder about possible interpretative-thematic nuances.
The work of Guendalina Urbani ultimately emphasizes how one of the fundamental characteristics that the work of art must possess is the perceptive capacity.