Dina Cangi has got the chance to cultivate her inclination to painting just following her natural gift. She has believed in her instinctive feeling for composition, in her great sensibility towards chromatic harmonies and tone-colour values, in her versatility in using different materials, from the most traditional and tested to the most heteroclite and experimental ones. Anyway, dominating everything with a gesturality always under control which allows her to create, almost plastically, with an excellent ability and with clear-cut brush strokes, strongly evocative images. All this thanks to her artistical training, to a rigorous probation which allowed her to free herself from every kind of uncertainty in order to introduce herself to the public with a mature and complete language. (...)
She has left a deviated surrealism recalling Max Ernst and delicate pastel tonalities and she has innervated her way of painting with terrestrial impulses, bringing "materica" paintings, which are combined with informal tendencies. (...)
Substance for Dina Cangin even having a main role, does not go beyond the sign. On the contrary, it is a means used to describe a personal emotion in order to filtrate an image caught from outside and make it of her own. In which way? Depriving it from its original substance and filling it with another one of different nature. The phaenomenic realities, the every day realities ar just an excuse, a simple hint for her composition. And the artist is ready to fill it all with herself. So, her subjects are always identifiable, but at the end you can ask yuorself wheather they are images described like dead natures or they are just similar to them, or if they are actually oneiric reflexes of them, or if they are collective archetypal iconographies searched in the depth of our unconoscious.
Substance as a means. Substance that is enhanced to its most hidden preciousness, thanks to the technical skill that the artist has succeded in reaching because of her experimentalism. An experimentalism which goal is to obtain pleasure, almost tactile, that you can catch from the curls of a piece of paper or from the wrinkledness of supports, in a dark stroke of the brush, or in a fast golden flash. And it is in those golden flashes, which pulse under the pigments, that the painter seems to have grasped the vital breath, the real soul of her paintings. The beautiful soul. The spirit that informs of its presence all the visual manifestations, primigenial, of the individual human being and of all mankind; and of which every single painting can be a different personification. A beautiful soul, I repeat. Because, at the end, it is always to beauty that the painter makes reference. To the intrinsical fascination of substance that she can reveal to us, working at different steps, with consecutive glazes, starting from dark bases to lighter and lighter shades of colour, in a world precious, creating in this way a sort of cathartic process.