The most difficult task was convincing her to put her paintings into frames.[...] Her reasoned hostility in "imprisoning" her paintings inside frames had a deep ground. It was something about bridle savage colts. Her expressive language, infact, refuse any kind of glitters or limits.[...]

The gap, the empty space, has always been the greatest fear of those who express themselves starting from the empty sapace, itself.[...] Carla Schucani, amateur painter, got over the empty space from the beginning;[...] because her images don't fall in an empty space which defines them, but they attak it, they hide it, they cover it: the empty space is annihilated.[...]

[...] Watercolors and drawings, very useful, for their own nature, in showing rapid notations, reveal Carla Schucani's inexsaustible artistic inspiration, which are anyway clearly shown in the gold, silver and platinum wares,always new and full of an expert and ironical taste, and in the Murano's glass-works[...]

Carla Schucani's paintings, which the reviewers are now high interested in, are one of the rare products of a confident instinct, which has overpoweringly camed out already in first works, with a clever self-assurance despite the absence of a formal education which could had focused its aspects.[...]

[...] here you can see Carla's skills: a faithfull and accurate reproduction of the original but, like Massimo Duranti used to say, made with an autonomy in composition [...]