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"The symbolic language used by Gulino in some of his works passes from a connective grammatical structure to a freer syntactic organization of mobile elements, as if they were surfacing from the magma of primordial indistinction, which autonomously find their place to the point of circulating freely inside the work and outside it. The thick mesh of his "blackboards" creates a crossfire of optic-perceptive illusions and open to a new land of the Absolute where signs are no more simple signs since they have lost their cross-reference to their meaning". (Gianluca Ranzi, Franco Accursio Gulino-In medio stat virtus, Fondazione Orestiadi of Gibellina, 2003)

Oil paintings on wood and on canvas of the Lavagne show dancing bodies, twisted and joyful at the same time, engaged in performing mysterious acrobatics. Figures change sex, shape and identity, and perspective planes and physical space are no more distinguishable. &lequo;Colours, drawings and the rough truth of wood» writes Riccardo Ragozzini «give birth to this wild dance. A story which often becomes a desperate scream and a cry of protest»

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