"[… ] I think you have burned yourself to a very intense flame.
Your "Ceppo" struck me like few things in my life.
It has the acute gaze for the minimum vibration and in every atom of matter it grasps implosions of stars and suns […].
Your painting was on the tracks of the most destructive coincidence of art and life.
That "Ceppo" won’t allow any development - maybe it wanted you to use it to set yourself on fire. Fortunately, you didn’t. You resisted that voice - it must have cost you immensely (I understand it: marriage, home, etc.), it was your hardest job. And even more to be able to work again. I’m glad you can. [… ]
You will never be a mediocre painter who accommodates himself in one way. [… ]
So I receive your work with affection. You don’t know how much you talk about mine.
I do not believe your works are 'judgable' from an aesthetic, formal point of view etc. [… ] dissonances everywhere. The work, from here, cannot succeed. [… ] Almost denying the possibility of the work. It seems to me that this is your 'destiny'.
Can you handle it, can you change it?
I do not know. I can only witness what you will do […].
From this letter, I hope you understand my interest in your work, along with my inability to talk about it critically.
It’s a letter I am writing a little bit to myself. [… ]
I’m sure you understand."
Epistolary, in Per uscire dalla Valle. Critica di me stesso, edited by Omar Calabrese, La Casa Usher documenti d’arte, Ponte alle Grazie Editori edition, Florence, 1992