Paintings sometimes take hidden roads which travel through deep feelings and fears. The bright side of painting sometimes presupposes its opposite in a faraway comparison which has neither winners nor vanquished, but which serves above all to enrich the work of art through urgent poetics created by the artist. Thus painting has become a practice liberated from modesty and especially after the negation of the twentieth-century it has reached subliminial places, in which a profound and evocative bond has been established between the visible and invisible. This should be the purpose of art in any case – to let the hidden sentiment of things, the secrets concealed behind appearance emerge. Antonietta Corsini’s paintings draws on this heritage of conscience and awareness hidden in this diaphragm, in opalescent colour and transparent apparitions of figures. The artist shows a particular abililty and experience despite her young age in creating a magical universe in which the paradigms of the informal and the need for representation find a synthesis which is certainly equilibrium, without ever being obvious. Her paintings are pervaded by an atmosphere of dawn and secrecy, as in a universe slowly revealing itself to life. The various stages in the progress of a changing light are visible and these strike the pictorial space and give it life. In this way the tonal values never have a simply self-referencing purpose, but dialogue with a visible course that has no stops. The sign acts progressively and is always accompanied by a colour it is never separated from, except for brief and episodic moments. What is of particular interest is Corsini’s ability to put together different pictoral genres or to go in a direction in which the rythmical and decorative elements find a solution within the work of art and never on the outside. The artist distributes this procedure by creating a waiting time which is both mystery and suspense. One can read in this a certain memory of elegiac beauty, almost a form of ideal adherence to visionary thought which has its origins in paintings of the late eighteenth-century, veined with shades of ideals and adorned with refined and melancholy symbols. However the artist never falls into the temptation of quoting and corrects, especially through a careful pictoral pattern, each historical inflection. For this reason Corsini’s paintings are to be seen with contemporary eyes. There are no tendencies to simplify an interpretation which recalls, in its simplicity, that painting that does not wish to hide but which retrieves the secret of form and the essence of colour which becomes matter. It is this sinking into the original state, that from which everything has a beginning, that the destiny of these works art is decided upon works which bear the sign of apparition, but which can place themselves in a dimension of discovery through a pictoral procedure which sums the painting to its negation, which adding, also takes away. The sense of an infinite rewriting of art as instrument is protracted, not only in new apparitions, but also in the certainty that there are no definitive facts around poetics, but rather episodes which have to be filled with the emptiness of waiting. Such suspension in Antionietta Corsini’s works is equivalent also to a parusia, a figure of speech, as a rhetoric figure as well as a fact of being (it could be said existential) of the painting itself. If there is no latency, not even the surface is ruffled by sense. Therefore these paintings do not take on the significance of revelation, but rather eternal certainty that the painting cannot describe the world but must instead deal with what is nascent, dawning, secret. Only in this way can the regularity of visual rhythms, the materiality of colour find harmony with the diffused luminescence. It is a reflection of an essence and spirituality which must still mature in the search but which has the start of a dawning light.