“The subtlety of the play of cross-references, of the contrasts, of the superimpositions is guaranteed by Giuliana Cunéaz right to her utmost limits. Where we believe we are encountering nature, we find instead the artificial, and where we had the allusion of finding the artificial, we can still glimpse nature, its ghost or its mythical representation… The artist is once again forced to face the arduous dilemma proposed by Schiller: on one side the apparent innocence of nature; on the other the artificial complexity of the work of art. But innocence can never really be innocent  and always needs an artificial element to become poetry, and poetry, in its imaginary ramification, has to seek the most impenetrable and difficult paths to achieve an instinctive, no longer rational inspiration.  The innocent universe is always held up by an intricate and artificial mechanism”.