Through his gestures, the artist establishes a connection with life, taking his way of seeing beyond aesthetic expression into a realm of fantastical privilege. Yet once again, he looks not outwards, but inwards. At the heart of its origins, at the core of its very being, choosing the ideal gesture, the ideal form, amidst proportions to be challenged, colours to be displayed, words to be suggested and dreamlike symbols to be sublimated. 
The creation of art is, among all forms of expression, the most widely used, the most authentic and natural, a pure meaning, in which the creative essence of form is emphasised, following its genesis step by step. 
Paul Klee also said, “in the beginning is the act, but above it is the idea”. For the artist, therefore, the work represents an experimental and spontaneous moment of creative conception. It clearly bears witness to the formation of the image, the mark as a form of writing which, emerging from the unconscious, becomes a visual thought.
Following this approach, Voirhumain conveys, in this series of works entitled “Vedere Umano”, a sense of visual essentiality that is only seemingly confused, yet structurally linked to an ironic and colourful view of life. Through her irrepressible style, she expresses a misleading gestural line, guided by a manual impetuosity, an identity brimming with emotional and cultural expressionism set within a solid reality. 
Here we find a stylistic exercise, almost the beginning of a new alphabet capable of transforming a desire, through the irony of creativity, into an expansion of time and space. Stains, fleeting marks, chromatic experiences: within them lies the definition of space, as the work’s restless search for formal solutions vies with nature and poetry. 
Thus emerges a poetic dimension in which movements, rhythms, light and vibrations are elements referable to objective emotional spaces of a dreamlike vision, in which, once again, the mark is never entrusted to pure instinct but to a creative and structured necessity. 
This is to say that, in any case, art, even today, remains the sole existential link between human hope and poetry

Massimo Scaringella