Grazia Badari belongs to the not very large group of painters who profit, much of their inspiration from poetry, and also, not rarely, to become poets: the ones to express themselves use the word, the others benefit from the color. This is how to constitute a pictorial genre that could more appropriately be called "poetic painting".

The Badari does not escape this call: his painting becomes more enjoyable if observing it escapes from the cold and rigorous rational rules and instead lets itself be carried away by the ineffable fluctuations of feeling, of con-sense.

It is thus possible to share with her the hidden motivations of a color, of a pattern, of a sign, of a materiality. What a superficial observation presents as a detached objective element becomes, with this feeling, an interpersonal relationship between the author and user.

The work reveals itself, almost magically, in its true essence and lets discover what at first appears exclusively as a set of signs or anonymous pigments.

Not infrequently, in fact, the Badari, illustrating his works, indicates a face, a certainty, a figure that without his guidance would not manifest themselves in the observer's capture. Never, as in his painting, there is consequently the close connection, almost an addiction, between the operator (the painter) and the user who ends up, in this case, to become almost a pleasure.

Gilberto Cavicchioli