What immediately catches the eye when you are in front of works of Landolfi is the vortex of colour and energy that captivates and drags one into a journey between particles and fragments of colour, where the key becomes manifold. The interesting thing is that when I asked the artist about the creation of his works he replied that the canvas is not passive but active. I asked him to explain himself; yes, he said, generally when creating a work on canvas, the canvas receives whatever the artist decides! It is passive. But in my case the canvas matches my interventions, pointing out roads to follow. It is an interactive process: I quite often start from an idea and then end up with something new and unpredictable which makes my job full of surprises. We live in a time where everything and more has been said about art, and because everything has already been said and done art has come to extreme measures in order to touch, to impress, to attract attention. An example is the exhibition representing hanged children in Milan. Dissected animals placed in formalin, machines that produce stool, etc. In Landolfi I see instead a genuine expression in creating art and a return to light. Light! I will refer to the considerations of Tomassetti, who, on winning a national selection, created Il giuramento di Castronovo, a work of 3x9m for the council hall of the town of Modica, my birthplace... During the nineteenth century, in full scientific, technological and industrial revolution, artists began to consider the problems of light “from a new point of view”, photography was born, empirical research on light as a physical phenomenon, colour separation and the “spectrum of light” was carried out. For artists colour is no longer just a chemical aspect, it is already an element in the light itself. The division of colour inspired all the new trends of Impressionism, Divisionism or Pointillism. Everyone worked on the combination of small portions of colour, particles of light that together excite our perception and convey a vibrant scene. So the quest for the mysterious subjective principles of form and appearance began to inspire art as well as the research of the roots of emotion in perception to the extreme consequences of Abstractionism, where emotion and contemplation coincide in an oxymoron. From Matisse to Mondrian, from Boccioni to Rothko to the contemporary Landolfi. Here lies the genuineness of Landolfi’s works, his light heartedness in making art, playing with colours. Miro once said, “It took me 80 years to become a child again”, fortunately I have never grown up, Landolfi once said to me joking, probably in my previous life I was a “serious” artist and everything is already used up! Now is the time of thoughtlessness. The innovation in the fragmentations of Landolfi make his works unique and original, because of their technical execution and what they transmit to the observer.