Franca Buscaglia’s work has evolved from richly coloured oil painting, driven by her search for the right chromatic balance, to an increasingly essential approach. She has experimented with a wide range of materials, gradually arriving at what she now calls a process of “stripping down”: reducing the work to its essentials in order to emphasise only her own point of view, expressed through the skilful use of the means at her disposal.

Buscaglia has experienced painting through the body. She has developed an excellent knowledge of the materials she has experimented with and used throughout her artistic journey, gradually learning to master them and bring them to the point of an explosion of colour, both tactile and purely visual. Over time, she has accumulated experience and knowledge, deciding for herself what, why, when and how to add or remove the elements necessary to express her own idea of painting.

For Buscaglia, painting is life. She paints with her body, not only through thought, the mind and the elaboration of concepts. She takes command and rises above: she is the goddess who creates and dismantles, arranges and reveals what lies within her, between doubt and certainty, often with such extraordinary lightness that she can inspire wonder in the attentive eye of the observer.

Buscaglia has achieved a remarkable sense of essentiality and a profound knowledge of the materials she works with, allowing her either to quieten or intensify the meanings conveyed through her works. The choice of canvas (ghinea, linen or jute) and the decision to lighten it by working directly with the warp and weft, with or without preparation, with or without colour, or with only a barely perceptible trace of colour, is never left to chance.

Franca Buscaglia is relentless. She possesses an extraordinary perseverance that drives her to go all the way in uncovering the mysteries of her artistic practice, both within and beyond the canvas. These are mysteries she shares only with attentive eyes capable of reading both her starting point and her destination in this process of lightening and revealing.

Unlike Body Art, Buscaglia uses the canvas in place of the body: she either incises directly into the canvas or works on the raw materials of the pictorial medium, because she has a confident mastery of them and can take her artistic intervention wherever and however she considers appropriate.