Thirty years of daily and constant commitment to painting – because so many count Silvia Battisti – impose a balance, an overview, to review the past and see the prodromes and the reasons for today. From the informal and expressionist gestures of the works of the seventies, the artist then came to a geometric abstraction, aimed at measuring and calibrating space and color. Within these chromatic areas appeared, between the eighties and nineties, the first Hebrew letters, already used for the figurative and evocative value of the spelling, rather than for their phonetic or semantic value. Subsequently, heterogeneous materials appeared on the pictorial surface, used both as support, as tensions, and as projections and volumes. Now the works of Silvia Battisti appear as swarms of letters and signs, emerging within precise and delimited areas of the painting. However, the letters, drawn according to a rhythmic, rhythmic plot, do not belong to any alphabet, if not to that one’s own, unique and very personal, which is the measure of the artist’s gesture, the frequency of his breath. This alphabet is not associated with any spoken or spoken language, and the letters, with the order of their disposition, create a visual rhythm, not logos.