The landscape that the author breathes every day has given way to a series of compositions where this influence manifests itself in different manifestations. Certainly this dimension does not leave Grazia Badari insensitive and these elaborations are here to demonstrate her own personal declination of the whole, in reference also to the current condition of female suffering expressed by the twisted bodies. Flash and pieces of the Po Valley landscape dear to her, like that of the Po, alternate in the material series On the river's edge, where ash and gypsum are mixed together, while the spatula creates the shape of the work that plays on the colors now hot and cold , with geometries that motif the vanishing points while large red and yellow works heat the walls with crumbling women's bodies, carnal and luxuriant flowers and secret rooms. Grazia Badari's universe is impregnated with brightness even when it is cooled by the shades of blue and bistros, albeit with diversified subjects, now marine, urban landscapes, punctuated by the geometric rhythm of the lines that define the harmony of the color segments . Do not miss a small space for a melancholy romanticism all female, with works dedicated to the moon and accompanied by poetic texts. The gestural power of the sign seems to soften on the rough canvas, of the sack, of the J'aime la nuite, on which appear light shapes, almost sewn over a curtain floating in the wind, which become calligraphic signs of Mironio in the Moon and the stars until you get to the metamorphosis of the moonlight in a woman who comes down to earth in La tristesse de la lune, where you can barely glimpse the verses in French of the erotic poetry of Charles Baudelaire and you breathe a decadent but at the same time intriguing atmosphere , always united with that inner delicacy that characterizes the artist's emotionality.