Material and lightweight, Dina Cangi's style transposes onto canvas lived experiences and intellectual experiences, through a rare mastery in the use of colour and mixed techniques, such as to give the works a three-dimensional depth. The colours thus become mirrors in which the user is reflected, probing the mystery of matter and its visible alchemy. Yet, the materiality that Cangi turns her hand to working it, mixing it and manipulating it, remains light and dissolves in tones of light, evocative of a search that is contemplation.
The conceptuality of informal canvases becomes therefore, an introspective path in which the user finds himself, allowing himself to be carried away by the dazzling force of the shadow shapes and the dissolved, emblematic forms that Cangi creates. This type of painting, however, chooses to be in a state of constant evolution. Indeed in Cangi's artistic path there have been many forms of expression, ranging from the informal style, to the figurative "in the season of the heaven", or in the more recent "astronomical season", in which tha author uses colour to investigate the laws of physics in the manner of a scientist who observes phenomena with a magnifying glass.
The gaze towards the celestial vault then becomes a descent into the soul,as if, between the two horizons, there were a symbiosis: the height of the nebulae and their invisible structure, is analogous to the intimacy of the human psyche.
Particularly interesting are the works belonging to the "period of golden chromatism" by Cangi, works in which the search for light guides the lines, to direct them, once again, "upwards", as in an ascending path that is both practical and mystical. On the canvases, the painter manages to give voice to eternity, playing like a photographer with the prior shots that, once immortalized, will be untouched by the passage of time. The immobility of the painting therefore becomes atmosphere: by observing the paintings, the user immerses himself in a superhuman dimension, allowing himself to be touched by a light that enlivens everything, and yet, even achieving the decomposition of light is not a definitive goal for Cangi and his works remain in a state of flux, open to new and further experiments, transmuting continously, like life.