“(…) She distorts the world, reduces it to what is primitive and essential: movement, energy, heat, color. She dons these colors, changes its walls from straight to darting, crooked and sudden, she bends, she moves. Her strong figures move in an indefinite space. The gaunt, hollow, suffering faces scream out the restlessness of the "Joan of Arc" who painted them. It is as if the fire that flows in Angela's veins can make it flow like volcanic lava, on the works she paints. Fire that purifies and restores Life. Rebirth, resilience, justice, for those who have not had justice. Those millions of bodies that the sea sucked defenseless. Those souls who sought only a new world. A hope for revenge. The survivors scream, as in the famous painting by Edvard Munch, in all their pain. A symbolic synthesis of human suffering.
The backgrounds behind the figures reveal the light, the horizon made of waves, sinuosities, and overlappings. The faces are devoid of any age connotations, and the clothes are simplified and reduced to hints, features that cover the strong, muscular, and angular bodies. At times, those bodies seem like apparitions or liquid visions, dynamic and agitated dimensions, noisy elasticities, at times almost annoying, but which force us to reflect. (…) ”

Critical excerpt by Malù Lattanzi