Giorgia Garzilli’s pictorial research explores the realms of vision and gaze: regarding her works as a virtually unlimited series of zoom-ins and zoom- outs of a single never-ending image, where all moments and observation points coexist, the artist places the viewer in the uncomfortable role of the voyeur. Representations of fragments of bodies, engaged in fragments of actions, whose titles are fragments of speeches, suggest the aesthetic transposition of the act of opening a novel to a random page, reading a passage and imagining its narrative development, with no need to know either cause or consequence.

Garzilli’s painting is a hypertext, where every link you click on reveals a new insight, a new interpretative context, a parallel as well as integral part of that “single never-ending image” which she continues to refer to as an inexhaustible aesthetic source. Her canvases become portals which, while apparently showing scenes of everyday life, open passageways to places located somewhere under the Earth’s surface or deep inside the subconscious, thus building a network of desires and sensuality of which these faceless bodies are protagonists, unintentional actors of scenes imbued with the fragile tenderness of intimacy.