Musing on some trajectories of the painting, following the cornerstones of figurative research, analysing the matrices which turn into a code, ITALIAN ART does not aspire to be a generic exhibition, but a pattern whose guidelines have the same nature as matrices, a heterogeneous geography where the artist’s approach to the outside world acts as a common denominator. Agostino Bonalumi, Pizzi Cannella, Luciano Ventrone, Gianni Dessì, Cristiano Pintaldi, Danilo Bucchi are artists who have conversed with the outside world in an intuitive manner, catching the anomalies in the urban landscape, the unexpected oddness, the astonishing corners, the ambiguous shapes. Their approach to the painting was, first of all, a new way to relate their intuition about the world to their sense of visual construction. A symbiotic bond between the representation of experience and its sublimation into imagery. The paintings and the sculptures of ITALIAN ART are the expression of a single era, the intimate and collective spirit of that historic period; at the same time, they metabolise the temporal intuition and instil a metaphysical zeal into it, crossing the threshold of extreme technicality, of materiality, of the elaborative process. The grammar of our authors has the softness of synthesis, of a frictionless iconographical energy. Their figurative code creates an empathy with the observer, by virtue of that very passage to a metaphysical dimension, to a transfiguration of reality, which is accomplished through the image in the shape of imagery.