Mariangela Levita works on minimal signs, fruit of the modernist experience with which the subject have had himself to do during the sixties. This sings (squares, circles, lines) go to compose a texture on the surface of the paint, making it bubble, they create in the user an attraction-repulsion dimension for this support, either it’s a canvas or a wall. The artist puts the user in a perceptive paradox: from one side she ressures him that it’s all on the canvas and she worries to name it, from the other side the canvas transforms itself more in a diaphragm turned toward him, than toward the illusory space, just for the fact that the wall and the spatial limits are under the same rules of canvas.
The intervention for the show “Castelli in aria” in Napoli (2000) 
was constituted by three paintings with three stylised animals, that declared the nature of the object, or rather the flattened forms on the canvas surface that contain colour. But on a comprehensive view, the three silhouettes lost their being icon in simulating movement action of a march in Indian file. So the confusion (not the cheat),between the vertical space and the practicable space, between objects and their representation (which is the only thing for her),was increased by the association of the three painting with a big wall painting ,made by grey ellipsis thatmake the physical encumbrance of the corner of the wall towards the centre of the room seen a simple optical illusion.
Recently, in this schizophrenia between hallucionatory perceptible states and the take of consciousness of the plan, surface, elementary signs and concrete form, the artist has introduced also the direct aspect of the communication, or rather the information. This last one shows itself as a document, like the first page of the newspapers, where the news and the linguistic code became support of a unique abstract sing, creating a short circuit on whatever of the two sings is
This strange and contradictory affirmation was associated with the image of an armed hand from the comics, used also by Roy Linchtestein, enlarged, but posed on a side (make it read us not in deepness but in length, as a landscape, from left to right) that created in the visitor a codification perplexity, that took us to be literally expelled from the room. The last works are big canvas in black and white where the original image of a stretch of water, signed by some emerging reed, is like stripped and reduced to it’s principal structure.
