[...] Balsamo turns upside down the usual function of the canvas: from background to a screen. The lights becomes the expressive means of his research, not only in representational terms but mainly as the active and operational germ. It is the same light that on transparency makes pale red and blue. That light that hangs mid way between the black outlines of the geometric figures and allows different tones to overlap each other as if they were thin veils. It is the same light that activates the dynamism of the precise and decorative manner, so that empty spaces have the same formal value of those that are filled up. It is the Same light guarantying the revelation of the spontaneous movements of the brush. Movements that, just like a Zen painting, are impossible to conceal or to repeat. [...]

Floriano De Santi  
                      
(from: F. De Santi, Vincenzo Balsamo,"Color's Song", 1996, pp. 11-12, ed. Mastroianni' Foundation)