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Palermo is tied hand in glove with the painting culture and that is an undeniable fact. Often along this ties there are knots, sailors’ ones and firmly made in the art, most of them are nooses, so the stronger the pull of the current, the stronger the knot tightens around the object to which it is wrapped. In addition there are many and varied junction knots. Linda is also creator and victim of these nodes, shakes them often, with titanic force, until the fibres of the cord tend to be damaged. The tangled knots, however, are increasingly busy and to find a hypothetical Ariadne 's thread is a deed that Linda tries to accomplish. The artist in the guise of a modern Theseus, in the maze floor of the canvas, violently clashes with the Minotaur, the archetype of one of the possible forms of human identity, an identity ancestral subjected to the "logos", logical ability, intelligence, reason; looking for a way out of that would be saving, therapeutic. This is I think the subtext of the cycle of portraits Linda has produced in recent years, a representation of the drama of self-consciousness and confusion of everyone in front of their encounter with consciousness, a Minotaur which access to that “logos” is been denied which is now nothing but a worn out knot. But beyond this analysis of "mythology", the portraits made by Linda eagerly allow us to attend (and / or be subjected) to the violent processes, most of the time away from the form and terms prescribed by law, of such processes each failure is recorded with care, leaving ample room for discretion to the most humid, mouldy and subterranean ravines of the human soul. The artist, relying a use of creamy colours powders and varnish, with cynicism returns such humid moisture. However, whether it is a real data or a fairy tale made excuse, to Linda the pictorial means is a movement of emanation of individual reality from the supreme principle. Federico Lupo