"I have been knowing Your artistic work for a long time, and I respect it: I was pleased to have confirmation of my thinking, that he is guided by (or at least acknowledge) a lucid critical view. […] Hegel had understood the incompatibility of art with the hegemonic bourgeoisie.
The painting that You create (luckily) still looks for value, believes in intersubjective communication. The difficult compatibility with industrial technology was dialectical, the incompatibility with mass information system is total, brutal, lethal. […] With post-modern it has died and gone to hell."
(Giulio Carlo Argan, 1992)
"[…] Pinto is looking for a knowledge that is still to be built, or at least to be worked out in full. The sources of this knowledge that is not (or few) manifest, can be classified in three categories: the anthropology of the ancient world or the primitive world, that in its rituals and myths reveals those ideas that contemporaries have lost; esotericism, or the culture of wisdom, that reveals hidden universes of knowledge; psychoanalysis, that finds in the depths of consciousness those ideas that are repressed and concealed from the surface. […]
He attempts to deal with ideas, culture, procedures, other artists’ inspiration - considered fundamental in contemporary art by everybody - to deduce good indications and comparisons for his own artistic experience […].
In the collected writings, you can find very original and sometimes unconventional evaluations of many 'sacred monsters' of modern art. [… ] To me it is extremely interesting the capability to see, from the statements of the artist, the path that leads him to the formation of 'his' poetic experience. [… ] Pinto never conceals that he moved from a condition of illiteracy, that is from resetting the notions he previously had. You can read (and I have definitely did it with admiration) the beautiful pages of the life that Pinto chose to do in a certain period of his existence, realizing a perfect coherence between thoughts and daily actions and common sensations.
In conclusion, I may say that in my experience, getting in touch with Pinto’s notes has been an enriching experience. Sometimes conflictual, sometimes shared. Never ordinary. As for sure it cannot be considered ordinary any attempt to enter, mentally and instinctively, into an artistic experience of which a deep value has been perceived since the surface"
Omar Calabrese, in Per uscire dalla Valle. Critica di me stesso, edited by Omar Calabrese, La Casa Usher, Ponte alle Grazie Editori, Florence, 1992