"The question of a steep, vertical space, with lines which cut through the surface revealing what underllies the layer of colour, may introduce us to read these "graffiture" in a dimension close top that of a wall. Pellegrini himself works thinking of the perimeter of the canvas as a place of condensation of gesture which communicates directly with the wall, which broadens out concretely beyond its own limit in a spatial involvement free form as metaphor, a tactile and concrete space which shapes up during the act of cutting, scratching, extracting effects of light between signs [...]." - Claudio Cerritelli, "Gianni Pellegrini. Graffiture" "Signs as traces, which do not seek either to affirm or to deny, but indicate a passage. These works of Pellegrini do not present or outspoken impetus to expressionist origin, nor the thicJxenin and proliferation of minute forms which is feature of much sign painting. Here the sign, swift and repeated, never becomes dense. It vibrates in the silence of a canvas which explicity gathers and preserves the traces of a gesture which does not belong to it. Gesture is the "beyond" of painting, which thrills through it yet cannot stay. It seems as if the canvasses seek to reflect on this feeling passage." - Giovanni M. Accame, "Sign as traces", in Claudio Cerritelli, "Gianni Pellegrini. Graffiture"

CERRITELLI, Claudio, Contributi di ACCAME, Giovanni M., FOSSATI, Paolo, OLIVIERI, Claudio, "Gianni Pellegrini. Graffiture", Nuova Prearo Editore, Milano, 1988.