Artworks From Sareo 2026

Sareo street festival is an annual art event in Schio, when local artists present their works in a public exhibition held on Via Pasubio in the city centre. Since, the old name of this street was Via Sareo, so that gives it the name. 

The painting below is a portrait by Moreno Greselin titled "Serenity and Understanding". I like the amused turn of lips and the twinkling eyes of the lady. Click on the images for a bigger view of the artworks.

Like every year, I want to present the art works that I liked in this years' exhibition - here are the 12 artworks that I liked most this time.

Some Specific Issues with This Years' Exhibition 

This year, in 2026, the event was held on the last weekend of June, but not in the street. Instead it was held in the Shed hall, the old building of Conte Wool Mills, used for cultural events.

It was supposed to be the weekend to celebrate the festival of Schio's patron saint, St. Peters, but all the public celebrations were cancelled because of an accident which claimed the lives of 2 persons from the local Salesian school, a young priest (Don Francesco) and a student (Alberto).

The Sareo 2026 art festival was not cancelled but it remained inside the Shed hall. Since, this weekend was especially hot, with temperatures going up to 36° C, it may not have been easy, any way, to organise it in the open street.

12 Artists & Their Artworks from Sereo 2026 

The artists are not presented in any specific order of importance or quality of their artworks. 

(1) Let me start with a painting by Giuseppe Fochesato. He paints old abandoned rooms and buildings, where you can see the peeling paint, dusty surfaces, a feeling as the time has stopped, and shafts of light illuminating them. In this particular work that I have chosen for this post, I love the shades of purple in the walls, the orange in the old sofa and the blue in the windows. The painting was titled "Blue windows". I also love the feeling of dust and light, the glass left on the table and a sense of frozen time, as if someone went out and never came back.

I met Giuseppe at the exhibition and I am planning to interview him for this blog, after the end of the summer.

(2) The second artwork that I really liked, is by Lanfranco dalle Carbonare. It is titled "From above" and has an abstract look, mainly in blues with a touch of red. It makes me think of a histology slide stained by methylene blue or the colours used for acid-fast bacilli. It is a drone's eye-view of a landscape, a kind of Google map, which he turns into abstract lines and shades.

(3) The third is a landscape by Mauro Marzari. I had interviewed him sometime ago. I like the way he uses colours, mixing together forms and abstraction. The orange background of this artwork, titled "Landscape", gives an idea of a forest fire and yet the white silhouette of the tree in the foreground gives me a feeling of coolness and mitigates the orange heat.

(4) The Cathedral by Luigia Meneguzzo is simple and evocative, a mixed materials artwork, using the bark of a tree. Probably, I am influenced by the images of the inauguration of the Sagrada Familia church in Barcellona a few days ago, but the bark of the tree used by Luigia with a little colour reminded me of that. I thought that it was clever and effective. All of us have the experience of seeing faces or figures in clouds and in random surfaces. Luigia saw a bark and saw a cathedral in it.

(5) Antonia Bortoloso makes very femminine and delicate artworks, with pastel colours and diaphanous laces and taffeta skirts. This time she had two artworks in the exhibition and I liked this one, titled Empty Space, more because of the bird sitting on the hand of the woman lost in thoughts in the painting. That bird somehow reminded me of the well-known Indian artist B. Prabha, who often painted women with birds.

(6) The artist Ercole Lino Bettiale had a few artworks in the exhibition, among them a round-shaped fantasy landscape of an old city quarter. However, I liked his "The Chess" (shown below) more because the two figures, the queen and the knight alongside the background of a chess-board, seem to be laughing at a private joke. It has a drunk-happy kind of vibe.

This painting also reminded me somehow of the Netflix series about chess, titled Queen's Gambit.

(7) Luigi Bernardi, originally from Schio and now based in Malo, started his artistic journey in 1977 and makes abstract compositions, using dark and spent colours that seem to merge into each other in a soft background, where you can, if one so wishes, see all kinds of figures and shapes, as in a psychologists' Rorschach test. They reminded me of walls that often come out when you scratch the paints and whitewashes covering them.

(8) Mario de Poli's abstract composition, titled "Light and the Tower" was similar to Luigi Bernardi, but a little more structured, mostly in the shades of green with a touch of orange. In an interview I have read that Luigi Bernardi and Mario de Poli (from Padova) had started their artistic journey together. Perhaps that explains the affinities in their approach to abstract art. However, in his long carrier as an artist, Mario has experimented with different styles.  

(9) Flaviana de Marchi's "Full Stop" with its reds and pinks, made me think of the hot summer afternoons with an angry red sun and someone furiously strumming on an electric guitar to express his anguish. I think that it would the right painting to look at, on a morning when I am feeling sleepy and need to wake up!

(10) The next artwork that I have chosen for my list is of a baby boy, holding a bunch of grapes and his eyes full of tears. It is by Moreno Greselin and was titled, "Boy grapes crying". I like it for the boy's expression and for the colour combination of blue and yellow, which always reminds me of Van Gogh. Moreno is the only one in this post, who has two paintings (the first painting at the top, of the old woman, is also his).

(11) Gian Battista Clementi is known for his landscapes, especially from the Leogra valley. Often, I can recognise the houses and contradas he paints, because they are from Sant'Antonio or Valle del Pasubio, a few kilometres north of Schio. For example, this year, I think that the two paintings he presented were both of the corner houses at the bridge in Gisbenti on Via dell'Acqua, a mountain hiking path that I love. His paintings had two versions of this place, one in the spring and the other with the winter snow. I liked more the one with the snow, which is presented below.

I am hoping to interview Clementi this year.

(12) The last painting that I have selected for this year is a small artwork, a pencil drawing of a young woman with tears in her eyes by Zohra Aljabbari. I am not sure if I have seen any of her works earlier and from her name it seems that she is an immigrant. So I am happy to include a new artist's name in my list. Her work was framed and covered with glass, but fortunately it was in a shadowed area, so I could take a picture of it without too much reflex.

In The End

Some of the artworks in this exhibition were framed and covered with glass, and I am unable to include them in my list. This was because of the strong morning light in the Shed hall, when I visited the exhibition, since it created strong reflections on the glass, so I was unable to look at them properly and to take their pictures. 

Over the last few years, I have been going to different art exhibitions in Schio and writing about them in my blog. This means that I have started recognising their names and recognising their art-styles. The moment I see their art work, I can tell who is the artist. This gives me pleasure.

I have also interviewed some of them and this year, I am planning to interview two of them, Fochesato and Clementi. While some of them have Facebook and Instagram pages, but some of them are almost invisible on internet. They are the ones, I want to interview and present in this blog.

Finally, you can also check my post about Sareo 2025.  

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Vladimiro & Chiara: Art & Love

One the events of the on-going poetry festival (15-31 May 2026) in Schio called Semenze Matte (“Mad seedlings”) is an exhibition titled “Come Un Foglio di Carta” (Like a Sheet of Paper). The on-going exhibition at Palazzo Toaldi Capra in Schio’s city-centre has drawings and prints of the artist Maria Chiara Toni.

At this exhibition I met Vladimiro Elvieri (1950), an artist engraver and companion of Maria Chaira Toni (1950-2025). Vladimiro told me that Chiara, the love of his life for about 47 years, had passed away last year. I spoke to him about their personal and artistic journeys. As we talked, it was clear that speaking about losing Chiara still moved him and made him emotional.

While we talked about their life-stories, it seemed that they had led an active and interesting life, and talking about that would require some more time. Thus, I am planning to meet Vladimiro again, to talk about their artistic experiences about engraving. This first post presents an edited version of our talk on 17 May 2026.

The few art-works presented with this post are by Maria Chaira Toni (click on the images for a bigger view) 

A Conversation with Vladimiro Eliveri 

Sunil: Vladimiro, can we start with your name? This is not a common name in Italy, it sounds more an Eastern European or Russian name.

Vladimiro: It was the name of my uncle, my mother’s brother, he had died in the war and my mother wanted to remember him, that is how I got it. The men in my family, my grandfather and uncle, tended towards the political ideas of Russia of that period, if that had any influence, I don’t know.

Sunil: Tell me about your early life.

Vladimiro: I was born in Schio. My initial education was also in Schio and then I went to the Art Institute of Nove (Bassano). I was married and living in Schio, when in 1978 I met Chiara. It was like being struck by lightening. She was originally from Mantova but was living in Cremona, after 7 months I left Schio and went to live with her. She was working in house furniture sector, and at the same time, she was an artist, designing and painting. I shifted to her studio and that became our home.

Cremona became our base, we were together for forty six and a half year and travelled to different parts of the world as artists. As artists we worked together, discussing every day, we both grew as artists through this interaction, without overpowering the other person. We respected each other as an artist. We had very strong emotional connection with each other and that helped our relationship.

Sunil: Talk to me about your own artistic journey, how did it start?

Vladimiro: My artistic journey started in the nursery school. That was when my first art exhibition was held. I was 4 or 5, I asked myself why I had so many papers full of art, but other children didn’t have them. A nun who came to our school, she said that my designs were beautiful and full of colours. Actually, I was born with the bug of art, and it was the same for Chiara. Art helped us to express our inner liberty through the art.

After 5 years at the Art Institute in Nove, I also went to Paris for some time. Initially, I did a lot of different works to make a living, while making art was in the free time. Most of those works were related to arts and graphics, including making small sculptures, working with silver, and doing stone-cutting.

In 1975, I became an engraver and started making art-incisions when I was working at Torchio-Thiene (a printing press famous for printing of contemporary art) of Armando Martini, who was using different techniques of calcography (Copperplate printing). We became friends. He was printer and also an experimenter of different techniques with new materials. I was putting into practice his inventions as an artist-engraver. I worked with him for 4 years and that had a determining impact on me. With him, I learned how to use the torque for printing. The things I learned with Armando, were useful for me to work as engraver in making incisions in Cremona.

Armando believed in teaching others and I learned this from him. Both, I and Chiara, we also took an active role in teaching young persons about incision-art.

I have about 830 incisions, in different sizes and shapes, some huge ones, some composed of many sheets, some using new techniques, etc. Chiara had made around 320 incisions. Along with incisions, the second artist area of our work is design. Chiara also painted.

Sunil: When you made incisions, were these accompanied by prints?

Vladimiro: Yes of course, for that you need a good printer who understands art. If artists themselves know how to print, it gives them the freedom to decide the kind of results they want from the printing. If an artist who makes incisions, also makes his own prints, it help him in becoming a better incisor. There are many techniques even in printing from incisions, for example, it can be in black and white or it can be in colours. In the recent exhibition of Chiara in Cremona, we had a few colour prints of her work.

Chiara mostly did incisions and paintings, while I also did light-painting, light-design and graphite on Cibachrome (drawing with graphite pencil on photographic-print). I did this because I wanted to interpret the writings of a Polish writer and playwright named Witold Gombrowicz (1904–1969), with whom I felt a deep connection in terms of his essence and thinking. In 1996, I decided to make a series of artworks, a few incisions, mostly light-design, and a few graphite on Cibachrome, around 28 artworks all together, to reinterpret his writings and his themes. I didn’t want to illustrate his words but rather to re-interpret them through my art.

French-American visual artist Man Ray (1890-1976), who was active in Dada and Surrealist movements, had already experimented with light-designs, using a torch-light in the dark, calling them Photograms and Rayographs. In 1949, Pablo Picasso had also collaborated with photographer Gjon Mili to make “light drawings” by making ephemeral figures in the air and fixing them on the film.

For my artworks on the writings of Witold Gombrowicz, I did another variation of this technique. I made light-designs, printed them on Cibachrome and then worked with graphite-tips, so as to bring out the white underneath the black surface. This double work was extraordinary – first there was the light-design, which had movement in the air without a specific or precise idea, it started as a sapling that grew out of me through my gestures in the air. The second part of working on the Cibachrome was more guided, trying to identify the forms hidden inside the light-design, by scratching on the dark surface and bringing out the white lines.

For example, this work called "Cosmo" was based on the title of one of his novels (shows a picture in a catalogue). Once I completed this series, I told about it Francesco Cataluccio (Italian expert of Polish literature for the publisher Feltrinelli, who had curated the publishing of works of Witold Gombrowicz in Italy) and he suggested that I write to the organisers of a festival about Gombrowicz in Poland.

Thus, an exhibition of these works was held at the Museum of Contemporary Art in Radom. It was wonderful because it allowed me and Chiara to participate in that festival, which had theatre groups from different parts of the world to stage his plays. We met many of the persons about whim he had written in his books, it was like a dream for us. For example, there was Alejandro Russovich, the Argentinian philosopher with whom Gombrowicz had lived for 4 years, along with Gombrowicz's wife Rita and many others.

Sunil: Did you travel to other countries with your art?

Vladimiro: With our incisions, we travelled to many art biennale around the world. That was an opportunity to see what others were doing in their countries. Since there were not so many persons in Italy working on incisions, we could exchange experiences at international level.

That helped us to start an Art Biennale in Cremona focusing on incision-art, which was held for 20 years, from 1999 till 2019. Each biennale had 3-4 sections such as guest country, invited international artists, young Italian incision-artists, ex-libris (bookplates) and historical section. Through these, Cremona museum received in gift about 2000 artworks, which is an extraordinary art collection of the best art-incisors from different parts of the world. Some influential persons from the art-world ignored us, others supported us and it was a successful initiative.

An important journey for us when we went to atelier of Henry Goetz (1909-1989) in Paris in 1979. He was a surrealism painter and engraver, a friend of Mirò. While I was working with Martini in Thiene, we had used an engraving technique invented by Goetz but we had modified it, by changing the materials which resulted in more interesting results. I took the prints of those experiments to Goetz in Paris. I was a little apprehensive that he may not like that we have modified his technique, instead he was happy about it. He became a friend.

Another important relationship was with the art-philosopher Dino Formaggio (1914-2008). We met in 1995 and at that time he was already old, but we became good friends and we had very interesting discussions that helped us to grow culturally.

Sunil: So for all this time you were in Cremona, when did you come back to Schio?

Vladimiro: Chiara had retired from her furniture work in 2019. In 2021, we shifted to Schio. In Cremona, her mother was no longer alive while I still had part of my family here. In Cremona we were renting our house and our studio, while I had my mother’s apartment in Schio which was free. We also thought that leaving Cremona, would mean freeing us from her furniture-business related things and to dedicate ourselves only to art. She was very keen that we shift to Schio, even if Cremona was so much closer to Milan, which is the gateway to the international art-world.

We redid my mother’s apartment and we took a studio in Schio, and restarted everything here. But then her illness came back. She had first first been diagnosed in 2000, then it came back in 2018 and was worse. Fortunately, they were able to treat it with chemio and radiotherapy and she became well. That phase lasted till 2023, when it came back again. She died in April 2025.

Chiara was already an artist when we had met. She wanted to do some sculpture also, and was planning to go to a sculpture course in Venice by Francesco Messina (1900-95), but that course was cancelled because there were not enough students for it. She also wanted to learn engraving with Sergio Tarquinio (1925-2026), a famous illustrator and incision-artist in Cremona, but then I arrived in her life and she did incisions with me. However, we also became close friends with Tarquinio.

Her life was busy, she was working, looking after her mother who was ill and yet she participated in my work as well. For example, when I was teaching engraving and had 20-25 students, she used to come to our class after finishing her work and then help me with teaching, and we would continue till mid-night. She was a very special woman.

During the one and a half months of the Biennale, I was conducting workshops in collaboration with the Civic Museum of Cremona, for persons who wanted to learn the art of engraving. Some of the international artists also took part in those courses. We had students from different age groups, from school children to students of art-academies.

Sunil: Thanks Vladimiro for this wonderful talk. This exhibition has only Chiara’s artworks. We need to fix another appointment to talk more about your artwork, as well as about the interesting international connections you had with artists from other countries.

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Favourite Works From Mutations 2025 Art Exhibition

This year, the theme of the contemporary art exhibition Mutazioni (Mutations) was "The Signs".

Mutazioni is an annual art event in our town, Schio (VI) in the north-east of Italy. It is usually organised around the end of autumn and the beginning of winter. 

Since this year's theme was a bit abstract, the exhibits were very different. A distinguishing feature of this years' exhibition was a series of exhibits from different countries of Africa from the personal collection of artist and art-collector Bruno Sandonà.

As always, there was a lot to see and admire in the exhibition. In this post, I want to present some of my favourite art-works from the Mutazioni 2025.

The picture on the left is from an installation created by a group of artists from a cooperative working with marginalised persons and disabled persons called Coop Libra that I had liked very much.

A few exhibits seemed familiar to me, they were similar to those presented in earlier editions of Mutazioni exhibitions. So I have excluded them from this list.

Let me start with a hand-painted dress. You can click on the images for a bigger view. 

Hand-Painted Silk by Daria Tasca and Annamaria Iodice

Daria Tasca from Treviso is known for her art combined with woven materials. This time, she was joined by Annamaria Iodice, a sculptor, painter, designer and performer from Naples.

The two artists took a piece of silk woven in early 1950s, hand-painted it and created a two-piece dress out of it, wrapped around a framework of iron, copper and aluminium. It was inspired by the digital prints of an art-work called "The Earthquake" by Slavia Janeslieva and Teona Milieva.

Last year, in the Mutazioni 2024 exhibition, Daria had joined with a ceramic artist Vania Sartori to create a somewhat similar artwork focusing on ceramics, while this year the focus was on painting. I think that works like this are important to remind ourselves that art may not only be in the exhibits but even be worn by persons.

Ceramic Dresses of Lorenzo Gnesotto

There was another artist in the exhibition focusing on wearables. He had used ceramics for creating "dresses", though his interpretation of this idea was completely different. 

Lorenzo is from Bassano del Grappa. His artworks included 3 quirky ceramic "dresses" made from Terracotta bound by elastic fibres. Through the use of different kinds of clays for making the terracotta pieces, it gave them different colours and designs.

More than dresses, they seemed like body-decorations. They also remind me of the metal nets and armours used by medieval soldiers to protect their bodies.

Origami Sculptures and Sound-Installations by Silvia Tedesco

This artwork was by Silvia from Vicenza and it included three round bases on which origami sculptures covered with resins were placed. At the same time, each sculpture was associated with a specific soundscape. In fact, she describes her art as "Talking Artwork".

One of the sculptures, called "the Soul Dance" had dragonfly-shaped origami, another called "Dream and Bubble Soap" had soap bubbles and the third one called "Carpe-Diem" had the Japanese Kohako-Koi fishes. Click on the image for a bigger view.

Monotype Incision Prints by Manuela Simoncelli

Manuela was born in Australia and has her workshop in Mussolente (VI). For the past few years, she has been experimenting with incisions. Apart from her work as an artist, she is also a Jazz singer.

 She had three monotype prints in the exhibition, they were titled Rhythm 1-2-3. One had the silhouette of a woman reading a book, second with a girl and third, a woman with a mobile phone. She first makes the incisions using soft-wax and dry-point and then uses toner transfer for creating unique monotypes.

Abstract Art by Stefania Righi

Stefania is from Vicenza and she had three paintings in the exhibition. Her art tends towards abstract, using mixed material techniques by using materials like stucco and cementite along the oil and acrylic colours to create textured art-works.

I loved her art. For example, the painted shown above, felt like looking at a Zen garden with its soft colours, and hidden forms and shapes that seemed to come out of and disappear in the fog.

Art Works by Bruno Sandonà

Bruno Sandonà from Pastina is both an artist as well as, an art-collector. In the Mutations 2025 exhibition, there were 3 of his artworks. It also had a whole section dedicated to his collection of the art-objects from Africa.

From his art works, I have chosen one of his paintings for this post (left). It had a raw energy and seemed to be inspired by his collection of African art.

I also liked his ceramic-leg sculpture in the exhibition.  

There was a big collection of art objects from different parts of Africa, especially from the countries of West Africa.

About his art-works collection from Africa, in the images below you can see a sculpture that has a kind of ritual container placed on the legs of the two persons. It is from the Dogon people in Mali.

Abstract Paintings by Davide Piazza

Davide Piazza is the president since 2003 of the well-known art-circle La Soffitta located in Vicenza. Apart from being a well-known artist, he is known as a teacher, as he conducts courses of oil painting.

In the exhibition, there were three of his artworks, all three were in shades of blue and yellow. They reminded me of lakes and sand-dunes, with undefined borders, and seemed to transmit serenity and joy.

Hyper-Realism of Giovanni Meneguzzo

Giovanni Meneguzzo, who presented 3 paintings in this exhibition is originally from Malo and now lives in Olmi di Treviso. Malo had 2 other artists from the Meneguzzo family (Giobatta and Corrado) but I am not sure if Giovanni is related to them.

His three paintings in the exhibition, were in hyper-realism style. One had the autumn leaves, another had a discarded cardboard box  used for a gift and the third had left over stuff along with with an old demijohn wine-bottle. I liked all three of them.

Giovanni started as a teacher in an art school. His passion has been to collect left-over stuff such as old leaves, clay, bottles, etc. and create his artworks based on them or by using them in his art.

Absence-Essence Installation by Francesco Risola

The installation had a tree-stump surrounded by dry and cracked earth, on which shadows of a moving tree-leaves were being projected. Thus, the essence or the echo of the tree that had been there in the past was being evoked in the installation by the projection of the shadows of the tree.

The artist seemed to focus his art to share his emotions about thoughtless and meaningless destruction of the nature.

I liked this installation and its idea of projecting the moving shadows of a tree on the tree-stump & cracked dry earth. I felt that it expressed very well the impermanence of life.

Sara Zilio's Flowing Matter

Sara Zilio is an artist from Schio. She had only one artwork in the exhibition, an acrylic painting that seemed like different colours flowing on a liquid surface, sometimes blurring and sometimes separate, tending towards each other like the extended fingers of man touching the divine in Michaelangelo's fresco in the Sistine chapel.

A friend who was visiting the exhibition with me, didn't like it, he said that it reminded him of snakes. So as you can see, choosing favourite artworks is very subjective and his choice of favourites would have been very different from mine. 

Flavio Pelligrini's Abstract Art

Pellegrini's work in the exhibition was one of the most unusual one for me in this exhibition. Pelligrini likes to work with wood, but not by creating usual wood sculptures. Instead, he uses his passion for information technology (IT) to create very unusual abstract art with the wood.

For example, you can click on it and enlarge the above image of Pellegrini's work to look at how he has created it by mixing together wood and IT. I felt that looking at it can be a transcendental experience, guiding our minds towards a meditation on infinity. 

To Conclude: Metamorphosis by Coop Libra

Let me conclude this post with another installation, which I liked very much.

It was a group work made by different persons from a cooperative based in Romano d'Ezzelino that works with marginalised and disabled persons. They had created it under the guidance of art-therapist Valentina Grotto.  

The installation had a mannequin in the centre, who represented the Butterfly-Goddess that is transforming from the Pupa to the Butterfly, and was covered by plastic bags. The central figure was surrounded by a spiral made from individual art-works on paper and clothes. 

Apart from the idea underlying this installation, I felt that visually it created a stunning impact.

If you liked looking at my favourite works from this years Mutazioni exhibition, perhaps you would like to check similar posts about previous editions of Mutazioni - 2021-22 edition and the 2024 edition 

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An Artist and His Grand-Daughter

Recently, we had an unusual art exhibition in Schio (click on the pictures for a bigger view).

It presented the works of a hidden artist, someone who had a passion for art, even while he worked in a wool factory and as a house-painter, white-washing the homes. And it was organised by his grand-daughter Alice who had promised her grandfather Romano Benazzi that one day she will organise an art exhibition for him.

The exhibition was called, Nonno Raccontami Un Quadro (Grandpa, tell me a picture).

Romano Benazzi's Life-Story

Romano was born in a village near Ferrara (Italy) in 1941. During the second World War, his father died while fighting in Ukraine. Raised by a single mother, he started working in the fields at a young age. When he was sixteeen, under a Government programme, he came to spend some days with a family in Pieve Belvicino, a few kilometres north of Schio in north-east part of Italy.

A couple of years later, he came back to Pieve in the same programme, but this time a guest of another set of families. Both these experiences created in him strong links of family and friendship, and he fell in love with the beauty of this mountainous area.

He found work with a local firm engaged in painting houses. It was also the period when he started sketching with pencil and charcoal. He fell in love with a local girl, and thus found his wife Gina, who worked in a bar in Pieve. He also took on a second work, at the Lanerossi wool mills of Pieve, while they came to live in Magre area of Schio. They had two children, Guido and Daniela.

Over the years he continued with his passion for art, experimenting with different art mediums including oil paints. After his retirement, he devoted himself completely to his art, in spite of developing Parkinson disease (a disease which causes tremors in hands and difficulties in movements).

Romano lives in a house of elderly persons and even if Parkinson disease limits his manual capabilities, in fact sometimes he doesn't like the results of his efforts, but he still continues to be an artist. The image below has one of his recent sketches with charcoal, where frustrated by his lack of control over his hand movements and unhappy with the result, he covered it with charcoal.

Conclusions

In these pictures you can see some of his works. I was deeply touched by the idea of his grand-daughter Alice, daughter of his son Guido, to honour her grand-father's works and to organise this exhibition in collaboration with the Municipality of Schio.

Though Romano Benazzi remains an unknown painter, his works remain confined to the homes of his family and friends, it is important that they were celebrated by his family and community.

 

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Sareo 2025 Street Art Festival

Schio's annual street art festival "Sareo" was held in the last week of June 2025. During this festival, the artists living in and around Schio are invited to put up their recent works for display in Via Pasubio in the city centre.

The old name of Via Pasubio was Via Sareo, which explains the name of this festival, which goes back to almost fifty years - it was suspended during the Covid years. The image below shows a view of the street with the art works. (You can click on any of the images below for a bigger view)

I want to share some of the art-works from this year's festival, that I liked. Our response to creative works including art, poetry, books, is very subjective. Thus, I am sure that some of the works that I liked, may not seem special to you and you would have chosen completely different works.

I am very fond of water-colour landscapes but this year, I didn't find any such landscape which I found outstanding. However, I also like abstract compositions and there were a few this year, which I liked.

These artists-artworks are not in any particular order.

Winner of Sareo 2024 - Giannino Scorzato: A jury of artists chooses the best artist, winner of Sareo festivals. Last year's winner was Giannino Scorzato from Valdagno. This year,  a solo exhibition of his works was held at the Toaldi-Capra palazzo as a part of Sareo festival.

A self-taught artist, Scorzato is also a mountaineer. He had started with oil paintings, but now he expresses himself mainly in beautiful and amazingly detailed pencil sketches. You can see one of his works from this exhibition in the image below, a portrait of a young girl.

I thought that this landscape by Teresa Vallese captured very well the special light, the landscape and the sea of Mykonos island, with its white houses, with its predominent blue and white colours in a simple way.

I liked the next painting because of its palette of pale colours, the diaphanous-delicate look and the way the flowers and abstract designs foreground the female figure. It is by Antonia Bortoloso from Schio, who is known for her feminine portraits and figures. There were two of her works in this edition of Sareo and I liked both of them. 

The next work has Australian aboriginal masks in pointillism style by Raffaella Rigadello - it reminded me of Andy Warhol's pop-art posters because of their colours and graphics. A handwritten note fixed near the artwork, probably written by the artist, pointed about the subjugation of Aboriginal people in Australia by the European settlers.

Mari Baldisserotto's water-colour of a beautiful girl with blue eyes made me think of the photograph of the Afghan girl by Steve McCurry which was used as cover-pic for National Geographic in 1985. I liked its colour composition and the girl's expression.

I like the way Giuseppe (Beppe) Fochesato uses shafts of light in his interiors. He had a few works in the festival and the one I have chosen has an old portico, probably from an old church with a door at the end. I love its colours and atmosphere.

The next is a water-colour by Egidio Carotta and it has a flower-pot fixed to the wall next to a gate. The painting gets its charm from the contrast in the colours of the bricks of the house, where red bricks are used to create a visual impact and give a shape to the painting.

I also liked the delicate flowers in the water-colour painting by Emanuela Minà from Schio. It had beautiful colours and composition. She also had another water-colour painting in the exhibition, but I liked this one more. 

The painting of a black galleon ship against an abstract background dominated by green colour, made me think of the film Pirates of the Caribbean and captain Jack Sparrow. I liked its dream like abstract effect. It is by Fabiola Carmelini.

Let me conclude by 3 works which I liked most in this year's Sareo. The first is an abstract composition by Luigi Bernardi. I would have preferred its lower part to be less definite and with paler colours, but still I found it intriguing.

The second is titled "Boy with a neckless" and is by Lorenzo Zanello. I liked its colours and the guy's expression. Every time I looked at it, it made me smile. It also reminds me of a guy I knew.

My favourite piece of art this year was this abstract work by Claudio dal Prà from Chiuppano. I am not able to explain why I liked it but I loved its complex colours, hidden figures and its composition. I like art which pulls me in and I can spend a long time trying to understand why I like it.

Conclusions

I think that it is very difficult for an artist to create a completely distinctive style, so that as soon as you see it you can say that it is by that artist. This also means that when you see works that use that style, you can say that this artist is inspired by that one.

However, developing a distinct style can also become a prison - then people expect you to keep on repeating that style forever. In that sense, creating a style of abstract art is much better because it can give you more freedom as an artist.

Regarding the artists whose works I have presented in this post, I was surprised that only a few of them have a social media presence. I feel that many of them, especially those who have not sacrificed years of life in the pursuit of art and have done other works while keeping art as a passion for the weekends or retirement, feel shy of calling themselves as artists and talking about their art.

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