"So many people choose to take pain as a way of life; there’s people who live a painful life in order to punish other people who they don’t want to be happy. To me it’s really about the choices you make in your life."

"I love humans. To me, the most interesting are the ones who are angry, who are difficult, who are constantly unsatisfied. How can I help them to elevate the spirit and change themselves? This is my favorite thing to do. It’s so interesting to see how people are different. I understand energy."

"If you think of anybody else selling work for millions, it’s the opposite for performance people. I still have a huge mortgage to pay. I still have to work every day because I never have the kind of money like artists who produce objects."

"Instagram is not art. Social media is not art."

"Schifano è un pittore puma: Un piccolo puma di cui non si sospetta la muscolatura e lo scatto, che lascia dietro di sé l’impronta nitida e misteriosa dell’eleganza"

"The ideas are contemporary to the gesture, I immediately spit them on the painting."

"C’è in ogni sua opera brivido di movimento, fremito di ribellione contro il rischio della decorazione, c’è vita, mai staticità, morte."

"È l’alba di una fantasia [...] La sua pittura è un darsi totalmente delle mani e del corpo."

"Painting is human, too human."

"Painting is my way of existing."

"Mario Schifano per la qualità della pittura è un artista straordinario aldilà della sua biografia."

"I live in the present and in the future [...] I don't accept the blackmail of the past."

"I do not accept the blackmail of the past."

"As long as I'm alive I'm rich."

"Voglio dipingere la pittura."

"Spero sempre di fare quadri senza inutili volontà di spiegazioni."

"Se non fossi Andy Warhol vorrei essere Mario Schifano."

"You cannot always bang the drum for financial returns."

"All art is political and most artists want to change something in the world; they want to spur action."

"Over the next few decades one billion lives and trillions of pounds will be at risk due to a single issue: climate change."

"All is fair in love and art but nothings ever fine in war."

"It’s not just about giving a voice to those otherwise unheard but trying to demonstrate by example, a new way of living and thinking about money."

"It is about recognising dual materiality, understanding where we can invest to make the world a better place and where risks may impact our bottom line."

"Gualtiero Galmanini"

"Pierto Portaluppi"

"Angelo Mangiarotti"

"Angelo Mangiarotti is an absolutely original author of international architecture, one of the few Italian masters (such as Ponti, Nervi and Piano) able to export his own idea and project philosophy. architecture, engineering, design and art, thanks to its ability to dialogue with these normally distant disciplines - The profound sense of ethical values, civic commitment and moral rigor with which to feel every gesture of the profession make us Angelo Mangiarotti a rare example; unique designer in his being an architect, designer and sculptor at the same time. (Beppe Finessi)"

"The Virtual Reality is yes the continuation of reality, but sometimes you can no longer understand what you are talking about in a pink, yellow or green thing, it is so devitalized."

"In my projects, I have always tried to make people's needs participate in the definition of the work. I would say that the fundamental starting point for designing a design object lies in the usefulness it has for people. An object that is not born of a necessity cannot even be considered as belonging to this category, design."

"He is an architect, designer and sculptor. How would you define yourself? In the meantime, I am a convinced materialist [...] look that it is not thought that uses matter to express itself, it is matter that uses thought. If you do not know the matter you cannot speak of spirit."

"Let's start together, you with the computer I at Hand [...] he hadn't started yet while I had already finished, and it was a very simple thing [...] the younger and more skilled they are, the less they have interest in drawing in Hand. I believe that today with information technology, you have great means at your disposal, of course there are databases left, it is not from there that a project comes out; culture is something else ... the risk is the loss of the gesture"

"I believe that design is a [...] method usually means only the industrial one, so I wonder how to consider the Etruscan statues? there are millions in the world, there are museums full [...] but how did they manage to produce them? And they are all original Etruscan! So why shouldn't we consider them design?"

"My works have always been born from the interest, the curiosity, that I have for the material and the possible ways of working it; and then find solutions often even at the limit, I would say. It is always necessary to pay close attention to the choice of materials with which an object will be made, since a relationship with the form is always very delicate. Technological innovation represents one of the fundamental aspects for the designer's work, but it must not lead to the exasperation of the technique at the expense of other aspects."

"What is the problem? If someone goes to bed with your wife you get angry, but if you go to bed and you agree, the question is resolved. [...] If the works have been made available by the authors themselves. It's all linear. If anything, it will be a question of understanding what the product of this union is. On the other hand, it would be artistically serious if one intervened on a work without the author's consent. In practice it is unthinkable that this operation will be done on a work of the sixteenth century, just to understand. (Vittorio Sgarbi)"

"They are powerful signs, those that Garau wanted to paint. They are the reconnection of a tradition that has its roots in the best Renaissance and even earlier in Italian sacred art but revisiting it in a contemporary, not to say futuristic, key. They are a reflection on what the transcendent is: on this or other planets, even if there were other intelligences, the question of what is not visible would still arise. It is the attempt of art to suggest more than answers, the eternal questioning."

"Will the concept of the Sacred exist in some planet of another galaxy where, by now it is certain, thousands of worlds preserve some form of life?"

"Just the title, a soft light and the total absence of any physical intervention on the wall are already an immense presence."

"This cosmic character of Salvatore Garau's figurative world, this emotionalized universalism links his aesthetics with the tradition of romanticism, especially of romantic landscape painting, in which imposing natural phenomena are interpreted as a metaphor for the cosmos and the metaphysical hierarchy of existence. (Lóránd Hegyi)"

"We are living in a moment in which our physicality, our being there is replaced by our virtual images and our voice, even this impalpable. Our being flesh and blood has to deal with the absence that is the true presence in these times [referring to his 'I Am', The invisible sculpture, Garau make in 2021 during Covid19 era."

"Immaterial sculpture is not seen with the eyes but with the heart."

"The void, only apparent, is actually imbued with life and sacred mystery. Divine energy has made the void a manifest work, and from the void everything has come."

"The vacuum is nothing more than a space full of energy, and even if we empty it and there is nothing left, according to the Heisenberg uncertainty principle, that nothing has a weight. Therefore, it has energy that is condensed and transformed into particles, that is, into us."

"Triumph of immediacy, aesthetic enjoyment, power of color, free spontaneity, a call to something gigantic, powerful, improbable, to something absent but substantial; this is what manifests itself in the new, small, enigmatic sheets that Salvatore Garau dedicated to Richard Wagner. The movement of the stripes of color - pulsating, restless, unpredictable, paths of unstoppable energies and tensions - suggest wind and flames, bodies that contort and interpenetrate, full of power and sensual force [...] seductive and disturbing are not however dedicated only to Richard Wagner [...] features that are not secondary to understand his poetics, in which an obsessive monochromatism, made up of shades of red, seems to evoke the spirit of the mythical struggles of the heroes of Wagner. (Lóránd Hegyi)"

"Salvatore Garau's canvases open onto a gigantic scene, an unlimited horizon that becomes the scene of majestic and impressive events ... We are confronted with an unknown energy. (Lóránd Hegyi)"