The compositions of Lidia Bagnoli demonstrate a good technical mastery whether in the use of a pencil or in the employment of colour. This technical mastery is not bad in a time like this one where so many people hide their foolishness behind camouflaged frills. Lidia Bagnoli is very young, but she has a very well defined vision of things. She has a notable experience in the area of murals which makes her now focus her mind on specifics: a hand, a face, printed paper reduced to a sort of contorted magma, symbol of the finite quality of things, or on the deforming and ironic game of “threadbare” objects in an effemeral space.
The mastery of gesture allows her to abbreviate the discussion in an efficient synthesis. In the chromatic compositions, the brushstroke is rapid, large and precise, while the plasticity sometimes dissolves itself into light tones in order to form suspended images almost as if they are waiting to be transported into a larger contest. The detail assumes, thereby, an aspect of the infinite, a fragment detached from an imaginary situation.
Lidia Bagnoli exhibits these days at Studio5 in via Tovaglie and in the exhibit, besides the drawings, those aerial constructions taken from imaginary, contorted and wrinkled papers really stand out: they are events of daily life reported on pieces of paper that finish their usefullness in a morning. These are works that compensate for the very rare moments of failing of some compositions where the excessive naturalness of the pictorial action could appear to be superficiality.
Franco Basile, Il Resto del Carlino, 14 Oct 1983