When examining the works of Dina Cangi we perceive forms that emerge from the depths of the hearts as if they came seeking a light which, in the end, they find, a dazzling light, and in the deepest silence.
They seem to appear spontaneously from the painter's hand evoked by her alone, prey to a serene abandon. It is often enough for the colours to be a different in order to provide new appearance to the same forms and bring to mind new landscapes. Yes, perhaps the sensation which these works most often communicate is that they have to do with abandoned landscapes in which man has left no trace of himself and which present themselves to us populated at times by the wrecks of an underwater world, at times by the remains of civilisations burnt by the sun and by the passage of time. In any case these landscapee seem to have already known for thousands of years the heat of the sun or the coolness of the moon, and through their long exposure to history dazzle us with a magnetic light which is impossible to remove from our imagination. We are stimulated to travel in this era, in these places which we do not understand, whether they are of the memory or of the future, adn which offer a flight and a place of refuge to anyone wanting to feel that they are in voluntary exile from chaos or from daily life or from all the recognisable forms of life.
We know well that if we want to speak of places we mean interior places, given that, rather than find physically existing places in the works of Dina Cangi, we should rather see symbols, meditations and the interior visions of the artist.
Tha range of colours is selected cleverly each time in order to always form refined compositions, whether they have to do with degrees of red as a memory of combustions, deflagrations, types of incandescence, or whether it is the blues that predominate like night shadows, lunar flares or objects abandoned in the bottom of an aquarium. At times we also find more toned down atmospheres with the yellows of golden seas, deserts or lagoons with enchanted mirror like water.
What is always constant is the choice of forms placed in the foreground that unfold as if through layer upon layer, with undertones of light which provide relief to them and contribute to their insertion into space: they at times look like layers of cloud or skies rendered apart by the light of an incandescent sun; while at other times they are simply atmospheres created by degrees of colour shaded with soft, indefinite tones. Thanks also the balanced composition, balanced in its resulting tones and volumes, the mark of sensations provided by the works of Dina Cangi remains deep in our soul, leaving a serenity and a harmony which we often pursue at length.