(…) Castellani adopts in his most recent path a singular freedom with regard to the system of reentrant or relief points, although always remains the model of composing in the sequence of lines, and so we have rectangles with different modular designs than along the margins, we have zigzag, areas under compression and expansion, diagonals, double points of minor or greater intensity, square areas, basically all this brings us first of all to the reason of Castellani’s research, to his conscious and unconscious motivations, or rather our reading patterns, the patterns that we can apply to a path like this, of a exasperated coherence, as you said, by a deep decency. (…)
Arturo Carlo Quintavalle, “Al di qua dell’eros”, in A. Bonito Oliva, A.C. Quintavalle, “Enrico Castellani”, catalogo della mostra, Università di Prama, Centro Studi e Archivio della Comunicazione, Parma, 1976, p. 18.
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