The history and evolution of photography has taken on a temporal springboard in recent years to make it suitable for everyone: just a click, a blink of an eye. Pixels like thousands of insect eyes recompose an image and anyone can make and undo, build and deconstruct sunrises, sunsets, lights in the night, portraits, moments.
From flint to electronics: it is the evolution of man, of Time.
In the small “jewels” of Pinella Palmisano, we find this story enclosed in a few centimeters; not only the one from the early decades of the nineteenth century, but even further back.
The work that has base, passion, profession, photographic practice, truly becomes ``extension and control`` from the mind to the hand to the enjoyment of the eyes.
The iroko wood is cut and prepared, then like a ``copyist``, a medieval scribe, Palmisano fixes the gold on the wood.
The fourteenth-fifteenth-century images that made Tuscany, of Italy that did not yet exist as a political unit, come to mind, the capital of the world of art.
On this precious, shining base, in this ray of sunshine transported to wood, the photographer marries painting, returning to a manual skill that electronics somehow hides.
On that ray of pure gold, the profile of an island, a boat on the shoreline, a page of Mediterranean scrub, stone houses emerge as silhouettes. Black and gold:
don't they remember certain paintings by Klimt? certain shovels?
don't they bring back to mind the Mediterranean sunsets backlight, some fleeting moments of purity and beauty?
In these fragments and landscapes, where infinity is minimal, the horizon is a thought ``there is nothing that is not beauty, order and luxury, calm and voluptuousness``, in the words of Baudelaire.
Pinella Palmisano, has never been satisfied with elsewhere, with the click as it is: looking at these small golden rays and figures will be like for a poet, for the viewer to perceive a sea in a drop.

Marcello Napoli 8 March 2019

For forty years I was a director of Rai ...
The control room has a monitor wall and each monitor corresponds to a camera the camera shows me images where I have to choose the one that excites me the most, the one that gives me the most at that moment and looking at Pinella's work I had a strong emotion: she was able to grasp and tell what each of us probably felt when arriving and experiencing the island, the colors of the island, the mount fossa, the sea that changes light and color depending on where you see it , according to the shot ... the palms our coasts that change blue depending on whether you see them on this side where it is darker or on the other side where it is lighter... all of this excited me and all this she stared at it through the his photographic images on the most precious of metals: gold, therefore the preciousness of our island fixed on gold.
... hearing this story about the seas to which Pinella connects by dedicating the title of his exhibition to them, I was very struck by the memory of women capable of flying, of going far to Australia, to their son, in one night, taking a lamp and take it to Alicudi ... fantastic stories, ... and this made me think that even then women needed to fly a bit far from everyday life, a bit far from what we have to do, necessarily, from what we are obliged to do, if nothing else there is the imagination to be able to fly..
surely there were additives, someone talks about datura or other herbs ... but the truth was that it was the women who flew, not the men, the women who wanted to get up and go, rise ... and that's what Pinella did with the his works
Pinella is flying high, very high ...

Lella Artesi

Giuseppe Siano, 31 October 2018