"[… ] The intention to communicate is huge, in Pinto’s work. It is, I would say, the will to include' in painting a whole universe, nothing less. So not the 'pictorial' aspect of a world and a man, but the world and man as they are and as they should be. The elements of his work, therefore, are completely 'not homogeneous' both with respect to the painting of our time, of yesterday and of today (perhaps of tomorrow), and between them. As if a stone had to appear with its dimensions on the canvas and not in the reduction to the two-dimensional nature of the painting, and, with it, his religious experience (an ‘experience that has not yet stopped in a balance of faith and life) It is as if she too should make an impression. […] It is not quite clear, at least to me, how much of purely provocative there is in the 'project' of painting of Pinto. And it is possible that spurious elements, defects in culture, voluntary and above all involuntary craftiness, examples of bad character, and a deliberate moral intransigence may appear in it. All this is not yet 'painting', but that does not mean that it cannot become so, when it is the subject of a true 'experience' like that of Bruno Pinto. Although different in format and technique, when you rethink about his works, in fact, they acquire a unitary aspect and character, because it is present in them (in all) much more than in each of them, a same principle and a same end. This is, for now, their greatest significance, and their necessity.”
Michele Ranchetti, Un buon "cattivo carattere", in Figura di demone – writings for Bruno Pinto by Giancarlo Gaeta, Claudio Cerritelli, Omar Calabrese, Sergio Vuskovic Rojo, Patrizia Vicinelli, Michele Ranchetti, Lucio Pozzi, Parol Quaderni d’Arte 3, Bologna marzo 1987