by Vittorio Sgarbi

The 1980s and 1990s saw the completion of that process, begun in the 1920s, that led to photography being identified as an autonomous art form, which does not imitate painting or sculpture but investigates reality and the themes of beauty, pain and life through an autonomous and equally authoritative language.
With the aid of the hologram, the artist achieves representation of all four dimensions of reality, height, width, depth and time, which it took about 700 years for painting to conquer: the time between Giotto and Picasso. But the surprise that the viewer experiences before Pezzino de Geronimo’s works is a result of discovering that nature, however one looks at it, is an inexhaustible source of Wonder and Beauty, a summons that contemporary Man seems to have stopped paying attention to.
The artist’s work has an educational as well as an aesthetic value. Her works lead the viewer to knowledge through emotion, rather than by providing information, shifting the focus from prose to poetry.
With great expressive freedom and unquestionable technical skill, she interprets a new view of the world, leading the observer to deep reflection.
Her photos reveal the spirit of things, which is the task of Art, and not the measure of the perceived datum. And it is that movement that spreads through space, separating the viewer from the work, that eternal moment that creates a dialogue with the work, a dynamic relationship that does not involve Logos, but the madness of Love.