Even though one should keep in mind that her art work is an expression of unyielding individuality and, moreover, that the peculiarity of her language has been improperly brought back and explained with others, the suctioning motifs in the art and contradictory life of Pasolini have remained like a cast and imprint in the works of Deanna Galletto.  Her verses mark, like deep scratches painfully legible, in the material's surface differentiated in morphology, chromatic variation and thickness.  Material which has been apparently violated in its entirety and in its tension material which suggests sensual images, but also death, material from which crop up metal plates like wounds.  Pasolini's poetry was also experienced, from time to time, as the supreme need for redemption, as the last awareness of illusion and as an escape from the persuasive pleasure of pure literature.  In an interview in verses from 1966, he says:

..io vorrei soltanto vivere
pur essendo poeta
perché la vita si esprime anche solo con se stessa. Vorrei esprimermi con gli esempi. 
Gettare il mio corpo nella lotta…..

Only literarily is the fear and the fascinating uselessness of living exorcized and converted into the hunger for action and for the glorious carnality found also in Pasolini's cinematographic production of “Decameron”, "I raccontì di Canterbury", and "Il fiore delle mille e una notte", a trilogy to which Deanna Galletto dedicated three works that exalt respectively the gluttony for life, the surprise of a trip metaphorically and also imaginatively.  They have a common denominator: a bright and satisfied carnality, and a love for life just as ferocious and desperate that contains in itself the seed of self-destruction.  Again love and death.

Giovanna Riu, La Spezia, July1994

Deanna Galletto's personal exhibition in the narrow and cosy space of the Capitulary Tower in PortoVenere is sober, unitary and also interesting on both a message level and on a properly chromatic one.  The painter, who can boast a curriculm rich in experience and achievement, (in Rome, Milan, Urbino, Venice) in copper engraving, theatrical and audiovisual research, stage design, photography and design has confronted a difficult route in these last years, since '91, in the multimedia field, showing acute sensitivity and acquiring in a short time uncommon skill in graphics and painting.  In Porto Venere's show (illustrated with a brochure and a distinct video catalogue with critiques by Giovanna Riu and the writer) Galletto wanted to pay a singular, consumed homage to Pier Paolo Pasolini - a poet, inserting stupendous and bitter verses of the great friulian in paintings where the colourful material is very rich and narrative even in its dreamlike abstraction The lumber room of her memory (within which inhabit and share human contradictions and the most bloody tension) is in reality a vast and molten mental landscape with forms, marks (exactly Pasolinian poetry) and clots which clearly express the presence of severe pain and open wounds, fruit of the awareness of the substantial impenetrability of the reason for existence and of a sort of desire for liberation, of an enthusiastic risk. I'd like to point out that other than the fine pictorial "trilogy" where colours converse and become an ideological-sentimental route - there are works (some exhibited, others that 1 have had the pleasure to admire) that lead us into absolutely free moving spaces, in primary lighting (great sunrises and dramatic sunsets), into the nucleus of intuition as restless as it is exalting, and into the maze of a vagrant and purposely dangerous imagination hoping to find great clarification and comforting discoveries.  Again the great Pasolini teaches.