Despite an undisguised, and to some extent “brazen”, joining the matter of fact, Cinzia Pellin’s painting significantly escapes the typical classification used to define the contemporary visual
The possibility to connect her to the languages of hyperrealism, to which for example she presents some superficial connections, is thwarted by significant exceptions regarding the camouflage of the particulars, as well as how much of her own feelings about the subject the artist projects on the canvas.

In addition, her peculiar approach to the act of portraying appears to be a means to define a style, which intends to affirm itself as unique and instantly recognizable.
To sign it, there is the igniting of fierce reds on the white surfaces of the faces, framed by the painter according to cinematic close-ups and made incompatible to any possible surrounding, when not isolated from the body they belong to.
Her work appears effectively characterized by an intense concentration on the feminine expressivity, which, in the artist’s vision, can evoke and allude to anything;

at the same time, the alienating representation of the details of famous faces, reproduced in large size, alludes to her imaginary penetrating the images of the stars of the show, until she loses its outlines/contours.
Anyway, Cinzia Pellin’s ones are divas whose inaccessibility, thanks to the introspective faculties of painting, is partially cancelled, perhaps granted for a moment to friends and ordinary women who recently made their entrance into her very personal gallery.