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Going through the numerous interpretations that have been given to Giuseppe Maraniello’s work, what clearly emerges is that many have been convinced that the nature of his research is marked by a dialogue between various tensions, first of all between painting and sculpture. It is as if the artist has taken on the task of comparing two languages that already reached their limits in postwar artistic research. But there is ambivalence, not only in looking at one formal language or another, but also in the way they balance each other out in certain works, what is left over of one in the other, and then the encounter of harmony or collision.

In Maraniello’s work a macroscopic glance sees the two greatest traditions of art in competition, but an analysis of individual works reveals that its nature conveys the signs of contrast in every aspect of its formation. [...]
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