[Lina Passalacqua] tends towards a choppy geometry of forms which, after a serious flirtrations with quasi-aniconic compositions with decidedly Futurist overtones, inevitably inviting the term Cubofuturist (Bosco, XNUMX; Tribute to Balla, XNUMX) began to bring a greater objectivization to her compositional elements (Fragments, XNUMX; Mechanisms, n.d.). Her paintigs (...) frequently favour a morphological bent, which can vary from a centripetal organization of the elements (The Money-Box is Closed, XNUMX) to the pictorial collage (Sudden Glance, XNUMX), or the visual mutterings of chromatic languages (The Word became flesh, XNUMX) to the very direct exemplification of Embrione, XNUMX, right down to the light-filled atmospheric volutes of (Towards Freedom, XNUMX; In the Cosmos, XNUMX).
If the need for clarity often makes Passalacqua to prefer the kaleidoscopic layout, when the memory or emotion becomes more intense, the structural layout of the scenes is enriched both spatially (The moon peeps through the woods, XNUMX; Flight of Swallows, XNUMX; Fragments in Space, XNUMX) and morphologically (Snippets of Memory, XNUMX; Self-Portrait, XNUMX). The most defined image sometimes appears in filigree (Melee, XNUMX) and sometimes it introduces itself or peeps out among the compositional breaks (In the beginning was the Great Goddess ?, XNUMX; Silver Wedding, XNUMX, Transformation, XNUMX; Shards of memory, Sudden Glance, XNUMX, Self-portrait, XNUMX) when it does not accede to the scene, as it is in the female figure with open arms that jumps in Freed from the shackles: exist, XNUMX, to reaffirm a focus on the veristic iconism, to which, at various times, she dedicates to mixed techniques on paper and in charcoal and colored pencils portraits
da History of Italian Art of the '900 - Generation of the Thirties, p. 563-564
Edizioni Bora snc, Bologna, December 2000