The Futurist itinerary in Perugia—which in the last century saw three illustrious figures enter by right into the art history of the great Marinettian movement, namely Gerardo Dottori, Alessandro Bruschetti, and Nello Palloni—has been resumed for some time now and with great determination by the young artist Laura Alunni, who is intent on executing an interaction between the aesthetic canons of that admirable avant-garde and the fluent linguistic modulations of the post-war period.
 

You are immediately drawn in by the explosive charm of the colors, which offer, on the one hand, a prodigious dynamism and, on the other, that compositional stabilitas typical of an architectural work. Yet, in a surprising oxymoron, this is accompanied by an almost mystical lightness, indicative of the author's reflective and highly humanistic character.
 

Some works appear as authentic plastic constructions with an effervescent theatrical scenography: her conception of space is daring, acting as a framework for a majestic action, much like what occurred in the works of Sant'Elia.

And then there are the rhythmic yet frenetic cadences of the lines which, upon the surface—the site of events—appear dazzling in all their expressionistic power, evoking an iconism that is only hinted at, almost in an attempt at figural restoration.

In this regard, certain floral explosions that simultaneously function as light and illumination, constructed according to the laws of centrifugal potential, are to be read as the quintessence of an igneous suprematism.
 

There is a flavor of transcendence in Alunni's works, and above all, a humanistic profile of declared fidelity to the values of the spirit (the reference to Dottori seems obligatory to me), which is likewise equivalent to a peremptory rejection of contemporary life. After all, was Futurism not the record of the agony of the past and everyday life in favor of futuristic vehemence?

Beneath the surface of her compositions, the apologia of mark and color becomes a gestural act that can legitimately be linked to the informal poetics, which we know to have been orgiastic and lacerating.
 

Alunni's triumphant entry into the Futurist furrow is not a nostalgic operation, but an attempt to actualize Plato's allegory of the cave in order to access the realm of light and truth.

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Leo Strozzieri