Let’s attempt doing an experiment: try to quickly leaf through a catalogue of Serena Riglietti and spend a few seconds gazing at each drawing. Our thoughts easily start returning back to the time when cartoons were home-made animations collected together and bond in book form.
Remember the small drawings filling each page with outlined figures often set in profile, each one similar to the other except for somes light change. Then, with the simple twist of the thumb and forefinger, the pages were made to rapidly flip, one after the other. Suddenly, a world populated by humans, dogs, buildings, and everything else imaginable, all came to life and assumed their own personal identity, ready to spring forth from the page at any moment.
Serena's illustrations succeed in communicating the same sense of wonder and magic. An underlying rhythm runs through her illustrations, serving to unify them all. What becomes gradually apparent is that throughout these pages, an imaginary gust of wind is present and gains momentum, eventually becoming the main protagonist featured in the entire story.
ln fact, the wind is dramatically evident in these illustrations, sometimes in the form of a mere breeze but more often it is sensed as a violent swirl giving definition to the whole grammatical composition. Tree tops bend, objects come a live and the figures are surprised at findingt that they must struggle in order to free themselves from the void at the eye of the tornado or relinquish all resistance to the increasingly engulfing spiral movement.