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"Gulino's research goes beyond what is formal and aims for an evocative content [...]. In Franco Accursio Gulino's research, the Door, understood as an entry or a passage, plays an essential role and symbolically coincides with the support on which the painting is made: consequently, the object-work is at the same time a picture and an installation. A door of dialogue between the East and West, but also a 'madia' (a cupboard for the making and storage of bread), a display cabinet, a preferential place to preserve and display signs, testimonies and cultures. Neither closed nor open: Art is necessarily a door [...] It is here, between the picture and the installation that books-object, tables, boards and stumps worked like volumes, ancient codes containing metalinguistic symbols appear; secrets, testimonies, enigmatic and mysterious traces of a past time maybe irremediably lost and unrecoverable". (Massimiliano Sardina, La natura superstite in Franco Accursio Gulino - Catalogo Generale Ragionato Tomo I)

The installations and pictures dedicated to memory Memoria reveal a constant commitment and a tireless creative awareness. Gulino does not paint on common supports, but uses materials worn out by time, fragments from boats, old doors, suitcases containing books to be read as possible and further passages leading to a different reality which only art can disclose.

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