"[… ] Two pieces of furniture full of books of painting, philosophy, school of thoughts; shelves along the walls with painting books kept open; on the bench near the workplace stood an open a volume about Caravaggio […]. In front of him there are at the same time many canvases, maybe a dozen, on the ground and around many more, clearly waiting to resume a contact with the author. There is not, in these works, the conventional sense of beginning, construction and ending of the work, everything is clearly in continuous rotation, there is not the usual productive rhythm of research-work-completion, there is no succession in the rhythm of the works but only contemporaneity. […]
Although very different in the formal system, the expressive carrier is to constitute a breath, unique, constant, continuous. [… ] The pretext for the pictorial action is an ordinary occasion, a 'accidit' more human than formal, a bodily or spiritual emotion, a state of mystical tension that, although always present as unconscious emotion, finds, case by case, in the relationship with a certain 'presence', with a certain 'thing', the opportunity to flow to the level of consciousness, and produce a motion of reflection. Painting is born, according to the truth of its expressive laws unequivocal, as a means of concentration, abstraction, metaphysical deepening of this tension. Research is metaphysical but not the pictorial foundation that works as a support, to allow penetration into the transcendent sphere. […]
Then the speech goes beyond and the structure already endowed with a ‘shape’ undergoes to a reworking, becoming point of further deepening, until it turns out to be almost unrecognizable, resulting in a completely different emotional state and so on for other successive states. […] This state of maximum spiritual intensity coincides with the maximum of pictorial logic. Suddenly everything becomes simple, limpid, genuine, perfect but also natural and clean, a thing that bloom magically and nothing seems to shine through the past. […]
The picture is nothing but the trace left by a tangible metaphysical intuition sign between sensitive and ultrasensitive, something concluded that does not have to wait anymore. [… ] All of a sudden, all the tensions towards the 'future' that in our world represent the deep cause of the distresses and anxieties seem to doze off; future now seems to become the only space in which to transpose all our expectations in spite of a now dormant ability to relate to the present moment […].
At a time like today, this way to make paiting proposes us a viaticum almost forgotten, because too much at hand: our recovery of consciousness with the present, hinc et nunc, as the only condition to be able to reach a 'creative' situation that is above all still and always, capacity for a complete relationship, spiritual and corporeal, with reality."
Glauco Gresleri, in Cat. Bruno Pinto. Presentation by Carlo L. Ragghianti, with writings by Luciano Padovese, Glauco Gresleri. Saggittaria Art Gallery, Pordenone, 1972, cit. , p. 9