“Bruscaglia’s choice was soon that of a bearing, significant sign, capable of leading the design to a complete result. The lattice did not invade the image with its shadow, the dilation of the sign did not become an impressionistic allusion. Between the two possible variants, it was the expression that Bruscaglia attempted, not constrained to the intellectual terms of a manner of the sign, but rather held back by a strong and autonomous trait. In black and white. Renato is an engraver, that is, a black and white artist. He has adopted this version of an image that is not at all reductive, and instead strongly potential, where all the salts of visual life condense into vibrating absolutes due to their adverse uniqueness and solitude, before embarking on the infinite road of relationships. No one will be able to fully describe the shining beauty of the white sheet always poised on the shiny abyss of black, if he has not practiced the path of etching, extreme selection conducted on the strength of optical resolution, power of indelible priming like that of a thumb on pitch or a relaxed song of the writing that induces his letters to quibble on the bottom of the paper … The craft, that is, that much mysterious even that hides in the difficult intermediate passages of etching, seems for Bruscaglia the most direct way to achieve a result, without surprises. Which is a direct, voluntary and frontal tension and concludes in the precise decision to make “poetry on reality”. I would really say that nothing about Bruscaglia and his truly “perfect” artist figure escapes this abbreviated definition. ” (Andrea Emiliani)