[…] no more trapezoids and in their place, in an almost central position, only slightly raised on the horizon line, rectangles. Golden rectangles, shapes not integrated with the background, suspended: something radically different, separated from the sea and the sky and, therefore, immune from floods striking the world. Almost as if the leap from the dock/trampoline out of the world had been accomplished, fulfilling a tension, a nostalgia, for the absolutely other, which definitely put in light the religious inspiration that marks this creative period of Elisabetta Bacci. […]

Gianni Spizzo