The emotion that always accompanies the painting and the sculptures of Giancarlo Bonasera is at the root of his way of conceiving and performing it. It is an emotion that proceds his works and makes them possible. It is a feeling that remains suspended, but present, vibrating in the transparency of colours and lights to which it is linked and to which it lends its unique appeal. To say that the emotion is a distintictive feature of this artist is not a literary notation but the determination of a component that belongs to his own culture. 

The authentic sense of this experience appears behind the fluctuations or appareances, both in the disposition of the mental and thoughtful components and in those with a marked emotional and existential character.
 

It is a conscience that passes the ideological or scientific mediations to go back to the same things that can be perceived in the world regardless of any division between sense and matter. 'The Sands of Mars' is a case in point. In the density of the mixture, in the physical dynamism of the group generated by the pression, one next to the other, of the different coloured areas. Hard colours, bright reds that dominate the composition and indicate that the chromatic aspect has reached the focus of interest. If we look at the followig "The Wind in the Forest" we perceive this similarity in the development where the colours assume tones that let the inner light be noticed, the effect is a pure presence of the painting that makes the colour, the light and the glass - that are in his power - the only source of action. The spreadings of colours seem to hold and each time to send inside a light that is both a phenomenon and a spiritual fact . 

Painting can be studied only through painting where everyone can suggest a little detail that can be useful in the identification of a specific idea of painting. This drive to contemplation is one of the main elements of GB's art that determines the components of his originality. A colour, a reflection must show its specific way of existing that is considered appearance, appearance that is the determination of what exists.Our artist chases and reaches. 

His contemplative vocation can only correspond to the idea of a language that is self-revealing and therefore with no ideological link, no external constraints to its free fullfilment. An expressive sensibility, a brilliance of colour reached through the different spreadings.
 

A current flows inside each work like water noisily falling, thus disarranging and destroying each and every system and going in and out between layers. It is an abstraction that becomes optical illusion, an unreachable mirage. As if the rough surface, luminiscent and dynamic, all of a sudden melted to become once again liquid ( and after all isn't glass liquid matter in its physical structure?) , transparent, limpid like that of an aquarium and then again tumultuos alluding to an unstable moment, always propelling, at times thin and explosive, like a charming discovery. It is the place where things happen destroying the order of elements, ghosts, subliminal impressions because here we see appareances, visual materializations. A hectic and exasperated comparison of territories - spaces - of a continous development. 

Where nothing remains the same twice. Where everything is on the same level and each single element has different features. Territories without anguish as well as without rest, the tension of a query that is always more absolute. Each emotional impulse, each thought immediately reveals its own complexity as soon as we try to seize a dimension that is escaping. 

The interiorization, the move into its own context of existential situations or fact of conscience and their translations take place in complete freedom vis-à-vis any style, there are neither rules nor restrictions. This painting, this sculpture primarily correspond to states of mind of uncertain limits that are called inspirations or intuitions. The art of GB is not afraid of breaking the rules of a pure abstract art as well as of creating illusionary effects because it can be totally indipendent from limited purposes . Those who observe are struck by a double impulse, two contradictory emotions, one is sensitive and the other highly mental An inner thought, an absorption that opens itself up and transforms the work into the place of its own resonance. 

This is why the emotion that these works give us is both mental and sensitive, because this is exactly the route traced by the original emotion of the artist. The light and the coldness that are present in his sculputure are not qualitative characteristcs but active subjects, light and space are the focus of the experience that becomes immeditate perception of an inner thought. But this does not mean resistance since the intimate concentration is in this case the disclosure to a borderless dimension. 

He directly works on the concepts of light, space surpassing the artificiality and therefore addressing to a purely mental evocation. If we closely look at any of his sculptures we understand that they do not tend to show the light but rather more persistent and less ostentatious properties: the root, the transforming power of a pervading energy. It happens to discover that our knowledge of light and space is only a portion of an immense territory. As we get close to its end we reach a new starting point. 

The light and the space are the reflection of an alterity, of an idea that goes beyond, of a destination that will never be a target but rather a path. A development that finds in its own movement the reasons for its existence. Here lies the depth of the essence. A depth that becomes elusive presence like a strong and exhausting magnet. But the look does not become rage. It slows down the rapid movement of the eye and runs until it can find the sense of its own skill: an energy, a force closer to the spiritual emotions than to reason.