Davanzo becomes by Michel Tapié, January 1972
The proposal for a possible artistic adventure by identifying certain avenues of its future through the obvious, essential work of a certain number of individualities which are moving elsewhere and otherwise, in a very lucid manner, free of complexes regarding a classicism which no longer conditions them and therefore free at the same time of the false problems of useless revolutions that are no longer needed. And at these beginnings of another era in which the first steps are exciting because they represent multivalent choices of alternative and possible paths (whereas classicism was essentially monovalent in the freedom and rigour of its marvellous creations, which we now admire all the more freely and deeply because we know that their proposals have become completely saturated). Finally, technically facilitated information on a planetary scale enables happy intersections with unexhausted elements of other civilisations which further enrich our possible horizons for artistic creation. The paintings of Wanda Davanzo, in addition to these fascinating problems, which have been solved and therefore integrated, happily radiate an enchantment that is itself of an essentially appropriate "type". Her “spaces” are aesthetically qualified in the radiance of topologies as obvious in their structures as they are incantatory in their radiance of content: whether these spaces of signs use black and white or the most complex colours, the magic of the surroundings plays on the evidence of an extreme complexity such that art today has conquered as both 'normal' use and a none-the less normal consumption.
Connoisseurs worthy of the name can only be enchanted by this artistic magic that they seek in works of art: in this sense, Wanda Davanzo’s work reassures us in the un-limitlessness of its artistic-aesthetic future.