The tower has always represented the most daring environment, full of contradictions, especially in the Middle Ages, when the tower stood as a simulacrum of the people, as an elevation of the spirit and as an unconquerable fortress. It has always been an emblem of glory and nobility, but also of closure, punishment and retribution. In the artistic imagery proposed to us by Grazia Azzali, we can see how the artist exposes us to the symbolic place of the tower, magical and surreal, which is arranged to capture the themes of mystery in its own contradictory condition, which saves and condemns, which elevates and annihilates the human sense.
In the Judeo-Christian tradition, the ivory tower is a symbol of noble purity. It is found for the first time in the Song of Solomon (7:5).

The artist proposes a symbolic journey through art, to capture the various conditions that are part of the dimension of the human essence, within the framework of the dreamlike and ancestral message. The presences that inhabit the tower make an undefined journey, connected with the environment that evolves as a return to the
archetypes, to capture both the fairy-tale sense and the cultural and environmental aspects, within the conflicts that slip into the psyche, elaborating complex transformations, where everything evolves in the wonder of becoming, with whom and with what. The artist wishes to perform a magical prodigy, which overturns the tower, which stands as a witness to the prescribed events, inaugurating extreme identities, which oscillate within the imaginary and the unconscious, which expands every reason for loss and revenge. The patterns that the artist evolves take on dilated forms, which fall apart to capture the essence of a content that expands within the reasons for living, where events affect the desire for freedom and redemption.The themes chosen by this painter lead us towards human reasons, inside comparisons and modifications, in the splitting of schemes,
which navigate towards compulsive, but deeply human motivations.

The reasons of symbolic change, help to modify the thinking ego that suddenly expands into other identities, which have the task of retaining the function, which the artist grants, to make a journey of redemption, without displacing the desire, as an idea of happiness. The painter evolves herself, therefore, within the labyrinths of nonsense, moving astounding energies, like a neuralgic anaesthesia of the unconscious terms in action. The deformed in the images expressed by the works, accentuates the ruthless dynamism of reducing the pain in action, of not suffering the negation, but making it compelling in the illusory changes of the conquest of identity. The dreamlike visions fall apart, to celebrate the sense of elaborative continuity of repeated abandonment, to
resurrect in other forms, in other conditions that repeatedly connect to the extreme sense of repetition, to connect oneself in the adventure of the human limit.

The ivory tower, in this sense, appears within the start of a continuous catharsis, to be a spiritual medium, which offers the opportunity of a refuge from the injustices and calamities, which life provides in the path of living. A place, therefore, of grace and light, as a journey into hope to capture oneself in the vision of one’s own total and celebratory conquest. Grazia Azzali therefore makes a redemption within an illusory tower, which contains our experience within the patterns of a perennial change, which leads our soul to deposit its own eternal and yearning sense of justice and glory.

- Ives Celli