Olga Danelone’s images are essentially formed by thick, interwoven schemes of lines. Everything goes back to a perception of the consciousness which is the fruit of fortuity and spatiotemporal relations. As Enrico Bellone writes in ‘I corpi e le Cose’ (‘Bodies and Things’) perceptions arecreated ‘thanks to processes which happen inside our bodies but which completely elude our consciousness and which are dependent on the sensations which we receive in the exploration of our environment together with the plethora of behaviours which we all exhibit in order to adapt to our niche. Faced with the crashing, the continuous breaking up and the interweaving of the lines
you understand that the artist is looking for and following with lucidity her own intimate imagination.
This begins with the knowledge of the crisis of the modern world, with the fall of any pre-ordained harmony, with the awareness of the decline of ideologies, and with the need to find inside herself
new rules which affront this crisis of humanity. From here arises the need to formulate new visual perspectives, from quantum theory to the probabilistic of mathematic logic, to the genesis and to
the evolution in fields ranging from the physical sciences to humanities. This is the fertile ground on which the friulano artist bases her pictoral experience.
For Danelone art is ‘la forma ùnica de preguntarse, de interprtar los hechos, da las vivencias’ interior. Traces, shapeless fragments of signs which recall forgotten tatters of territories of the mind. Through careful reconstruction the artist gives them life, transforming the tatters into a new system of signs, her ‘diccionario delos murmullos’ which manifests itself now as ‘albedrio’, now as ‘orden matematico’, now as ‘eventos turbadores’, now as diary ‘de un narcisista’ and so on. In this way, she displays the essence of her language as a new templum of self , as Benjamin writes, ‘becoming the language of herself’ in order to correspond to her inner spiritual essence. That essence permits her to experience the creation of language in its origins, which, starting with Aimeric de Peguilhan, means being called to speak from nothing and to answer to nothing…. this is a way neither simple nor banal to answer the crisis of modern language.

Gerardo Pedicini, poet, writer and art critic, Naples 2008