"[… ] For thirty, thirty-five years, Pinto has been working, constantly revisiting all the great painting of the past and transforming, in his paintings, everything he has been able to understand at a deep level (of the essence). [… ] It is the hand of an artist who speaks of himself towards the world, through his human experience and, as always, it is his suffering, his loneliness, his ability to meditate on art (and one might say: it is his willingness to love and to walk the paths of the thought of others) that gives rise to creative power.
His choice is that of silence; he keeps himself away from any artistic glamour; he firmly faces the violent relationships with the world and prefers the future that comes from rigour in authentic research. This is always the case for those who demand the truth, and there is no doubt that in this dimension faith in man who interacts with the cosmos is supremely exalted. [… ]
For him painting is the only way to create relationships with others and only in isolation is possible to understand (he gets to understand) what had been the real conditions of the work of many great artists. In this detachment from modernity it is possible to gradually rediscover all those paths that remain indelibly imprinted in the works that establish the World.
This work of reflection leads, therefore, away from that opaque monster of the artists, that monster always lurking that is called 'madness'. [… ] When one enters that great door of madness in which the faculties of will, thought, feeling, collide, it is also possible that the dimension of silence is not recovered, and remains entangled in successive and endless series of regressions, without ever reaching the goal, that of pacification between the self and the world.
Only in the abyss of levels, if you will, still more abysmal, in the archetypes or in the spirituality of the ancient cultures and traditions, the artist digs the back of his ontological peak, modelling that integration that allows in the transparency of silence the very things to reveal themselves, therefore to be perceived in their naturalness, in their being as they are. [… ]
With the strategy of the opposites and in the formulation of the experience at the base of every knowledge, Pinto thinks to tear apart every mystification and to make his every intuition relevant.
When the veil of evasiveness becomes layer, we can do nothing but fall apart, or violate once again the enigmatic form that reproduces, perhaps in painting, things and their 'willed' truth."
Patrizia Vicinelli, Una diversità eccellente, Parol Quaderni d’Arte 3, Bologna March 1987