Press Release

Many critics and writers wrote about him and among them: Lino Borghello, Rosinella Celeste, Licio Damiani, Paolo Bellini, Raffaella Cargnelutti, Giuseppe Selvaggi, Luciano Perissinotto, Maria Luisa Galantini, Gianni Spizzo and many others.

He is present in many important art catalogues including: MAYER, Catalogue of Italian Modern Art – Mondadori; International Modern Art Catalogue – CIDA, Encyclopedic Dictionary of Contemporary Art – ALBA; “The Image and Thinking: The paths of Post Surrealism in Friuli Venezia Giulia”.

One sometimes comes across a work of art that radiates love. This does not happen often enough; however, this is exactly what happened when I saw Giorgio Linda’s paintings.

Meir Ahronson

His paintings give voice to what could be termed an “anti-statement.” Perhaps the understated quality of his paintings is one of the characteristics missing from our local art scene, and the example Giorgio Linda places before us is important precisely for this reason.

Meir Ahronson

The click of the camera shutter can capture an image in less than a second, but Linda takes his time to study the landscape, to assimilate it, and only then does he paint the depths of his viewing experience.

Meir Ahronson

Minimizer of frescos, his constructions embedded with the stillness of the mith, maybe to allude provocative also to our own presence precipitated in itself (…) In any case the adopted keyword exiled from the strictly confessional dimension, in a convinction that the capacity of the symbolism would go beyond religious association to become everyone's universal, a-temporal (…) His paintings seems to confirm that everything which has importance is everlasting.

Gianni Spizzo

In Giorgio Linda's compositions the human presence is portrayed in minimal dimensions or left distressed by the light which diminishes their physical form, proclaims the outrageous inequality between their minuscule proportions and the absolute of the divine knowledge which manifests itself in a silent massing of significant spatial consistency.

Luciano Perissinotto

In Giorgio Linda's oils or etchings one reads a sort of ‘katabasis’ in the Jewish culture and spirituality, manifests through careful meditation up to an eerie (fanciful) reinvention in 17th, 18th century and Romantic paintings style.

Luciano Perissinotto

In an artistic panorama where new technological means gain more popularity and where the provocation is more in vogue, Giorgio Linda aspires to a language influenced by masters of the old world (…) His style aims to the past, but the message which he passes to us is strictly actual and reminds us what importance in our existance have the study, the acknowledge and the respect to the diversity.