Olga Danelone’s research continuously moves its scope. It expands the exploration of the boundaries designated by images to indicate the necessary contemporary presence of aesthetic and scientific values, analytical and imaginative values. Her view of art is in line with the movements of contemporary reality, with the anxieties of existence, with the changeable experiences of sensory perception, which flows with no restrictions following the wind of ideas. 
She is open to the living flow of things, to the cosmic vibrations that surround even the most inert and encoded signs, in a captivating breath that gives no rest to the artist who reflects on her own cognitive fundamentals. 
In the recent series of the “children inventories”, painting dialogues with the images provided by the media, with the advertising and commercial icons of marketing, the artist lays out on the veil of colour the clothing forms of childhood, the symbolic signs of standardization specific of the product universe. Compositional identikits made up of objects and clothes, phantasmatic maps suspended between consumer iconography and planetary imagination. 
In this inventory procedure Olga Danelone does not give up the afflatus of colourful powders, nor the stratification of the signs of graphite and abrasions, modes that were, already combined in her past works, achieving results of keen expressive sensitivity. Such an inclination can still be perceived, above all in the contrast between the chromatic sensation of light and the precision of the advertising silhouettes, as imprints surrounded by writing and numerical insertions. All this makes one think that this opening towards verbal-visual hypotheses and towards advertising morphologies is nothing but a phase in which painting is seen from outside, raising again the possibility of extending its perimeter. Olga Danelone is undoubtedly more interested in the floating movement of sudden occurrences than in the different repetition of the same linguistic rules. 

Claudio Cerritelli April 2013, Art Critic, Milan.