Playing on the contrast between the intrusiveness of wide canvases and the minute size of the chairs set in front of the works succeeds in heightening the idea of space so cherished by Brigitta Rossetti, which refers to a well-defined period of her life, as she points out, "I experienced abroad the urgent need of breathing in contact with nature, which in large cities is often shut up inside a park or just a shrub possibly blackened by car pollution. I felt the straight off urge of creating large flowers on the canvas, flowers that were bigger than people, which evoked life,sacrifice and hope and that would grow even in the desert".

Thence came the inspiration for her Children's Garden installations, while the artist was staying in Chicago in 2010 and felt a strong yearning for contact with nature.

Those flowers stem from inner urge and lead the person concerned towards an elusive, although asbolutely powerful new place.
If they are looked at while we are sitting on the tiny chair, the large flowers painted on the canvas oblige us to raise our eyes and head in a sort of archetypal gesture so often subdued by centuries of oppressive history, by the fear of expressing our ideas, by an attitude of resignation.

Yet, once you have raised your eyes, the pride of truth is restored, which art, better than any other discipline, succeeds in giving voice to, as suitably pointed out by Beba Marsano in a critical text concerning the artist,
"That rush-covered chair is to Brigitta just as Gauguin's chair is to Van Gogh: the symbol of a plain, domestic way of considering art". From the black depths of his disenchantement, Emil Cioran wrote that "almost all works are made of bits of imitation, learnt thrills and plagiarized ecstasies". Not in this case, since art is under the vow of truth, is a statement of necessity and a way of healing.

Truth is also entrusted to words by Brigitta Rossetti, because of her unique artistic style which alternates painting with poetry.

The words are inspired by the light movements that the flowers are subject to in their slightness, at times reminiscent of Oriental art.

Fiori d'Arlecchino
A small kitchen chair: Changing light during the day and wild floweers. The fantasy of a child that dresses up thoughts. New associations spring up: the cowshed, cows, a fish, the earth, mud, a kite...

Fiori d'acqua
Grown out of water they sweetly wave to the sky Like a pilgrim who stops for a moment to gaze at the world around and in doing so goes beyond reality.

Fiori della coscienza
Swinging on straight conscence ropes we draw white flowers.
The flowers are gathered in a bunch and then scattered again, to look for a new space.

Fiori venienti
Walking along our Lord's ways I got into an enchanted wood whre tall, tall flowers were wandering light at night.

Fiori di San Pietro
Orange red toned down by purple and white, a sunset, a romantic moment.
Endowed with charity. They draw up love signs and never-ending bloom. Beauty flowers.

These are only a few works that lead the artist's evolution towards her longed for worlds, as in her Clay Flowers 2014, probably the most emotionally evocative of Brigitta Rossetti's large paintings: an apparent optical trick, since a cloud of stems rising towards the sky seems to draw vital sap out of a clot of earth.

Yet this is just the most realistic representation of the power of nature, which infects the artist to the point of creating matter out of thought.
The process is reversed in Dream Flowers 2014, where white water drippings reveal past signs of life and a delicate dream is disclosed in the wide light blue cloak.

Illusion makes us feel like lying on a winged chariot to contemplate the lyrical swinging of white stems until they lull us asleep. On waking up we'll have pistil-eyes that look around under the spell of fantasy.