A precise moment can be assigned to the birth of Modern art: when painters discovered that brushes could not only reproduce reality but also express the unreal. In other words, to show the invisible. It may not be accurate to call Arianna Bonamore's works images, as they possess a density unknown to other art that relies on reference and dialogue with what is already seen. They come from an impassable, indescribable place, bearing the marks of a layered process. These works belong to us because they reject the lightness of the image and engage with an intimate density. Their apparent modernity seems coincidental. Beyond pleasure, they dwell on the long process that generated them. By resisting, we allow these works, obscured by an excess of radiance from a dark origin, to engage in dialogue. Their destiny is to appear uncomfortable, yet what we hear from them is exclusive, seeking no approval. Bonamore’s works also engage with their pale intermediaries, wooden ghosts serving as canvases for emergence. They speak of medieval hands not yet acquainted with the poisonous grandeur of spectacle, relying on the mark. From these private oceanographies, the only ars emerges—the harshest, most demanding, most stubborn, and the only possible love.

Paolo Aita