Young Parmeggiani’s works gleam with a peculiar perfection which is reflected in the hue of fancy.
In this exhibition Alessandra shows us a fancy which is sometimes visionary and often goes hand-in-hand with “pop-music” backgrounds.
The emanations of her painting matter, made of colours inherited by the London Tradition of the Sixties and shapes echoing the freedom of Gorky or Arp, together with an attitude aroused by the admiration for the “Victory Boogie-Woogie" (Mondrian), tell us we face a painting which strongly expects to prove its dominance over transient.
Certainly, such a revival of the past, even if a past which built modernity and founded contemporary in Art, does not bear witness of an artistic talent in itself.
(this does not mean that this vein in which the blood of passion for the knowledge flows could not be completely insensible about present).
This risk of academism does not have any influence on the search of Parmeggiani whose visual culture has not been nourished by urban advertising posters but has not even been fossilized in the museums; and she comes back to those posters, to that culture, to the “pulp generation” being perfectly aware not only to be part of it but also of something else.

VICTOR ARELLANO REY
Vicenza, January 2000

"JAZZ" by Alessandra Parmeggiani, an acrylic effort on cloth, depicting the "bright lights of the city" is also something to be admired.

CHEN VOON WAL
"New Straits Times"
14 January 1994, Kuala Lumpur, Malesia.

Shapes and situations outlined by a quite expressive and lively black pictorial stroke which Alessandra Parmeggiani uses to “design” images setting out a strong emotional impact on all those who look.

ENZO DI MARTINO
"Il Gazzettino", 2 december 1995, Venezia.