"Don't call him a director. "I am an image-maker, a creator of images", corrects Peter Greenaway, who has however made very many films. Eccentric, labyrinthine, mysterious films. Praised and detested. Always unforgettable for their originality of content and language. Films in which it is often easy to see evidence of famous paintings, of Vermeer, La Tour, Mondrian. Artists who are loved by Greenaway, who, just like Fellini, Antonioni, Pasolini, cultivates and practices his passion for painting. The many "one-man-shows" he has staged for the world bear witness to this, and now to support this there is his exhibition in Parma, until 10th December at the Palazzo della Pilotta, arranged by the Cooperativa Edison." (Giuseppina Manin, CORRIERE DELLA SERA, 23rd October 2000) "Two hundred paintings, water-colours, oil paintings, eclectic techniques, preliminary sketches and studies. This is the substance of a very unusual art exhibition - unusual because the creator of all these works is the English director, Peter Greenaway." (IL MANIFESTO, 22nd October 2000) "He is a director, but not only a director. An artist, yes, but more than that. Above all he is a sulphurous creator of images with symbolic and visionary content, always suspended between dreams and reality, always reaching towards refined explorations into art, art that becomes science, and science that in turn becomes imagines. This is Peter Greenaway (…), the most versatile film-maker in Europe, a painter on celluloid, creator of cult feature films." (Susanna Legrenzi, IO DONNA, 28th October 2000) "A journey, a crossing, a passage towards the unknown described through letters written with penmanship of another time; an alternation between the intensity of light that simulates the passing of days and nights; a soundtrack evoking the trampling of horses' hoofs and children's voices; an explosion of colours on walls as if they were mud stains dislodged from the wheels of a carriage or great fingerprints. And then numbers: six main stops and ninety-two minor stopovers, ninety-two like the number of uranium, or rather the atom that to a great extent represents the history of the 20th Century. The installation A map of paradise that the English Peter Greenaway created at the Galleria Niccoli in Parma (…) offers us a kind of spectacular display which the public of contemporary art is not altogether used to. Absorbing, nostalgic, mysterious." (Angela Vettese, IL SOLE 24 ORE , 29th October 2000) "However, observing his journey and above all the developments of these last few years, it cannot be denied that Greenaway has succeeded in embodying the quintessence of contemporary artistic expression (….). During the last few days the director has been in Parma, as a guest of the Cooperativa Edison, but it goes without saying that the cinema is light-years away. Indeed our meeting takes place in a former barn, which today is an avant-garde Gallery managed by Giuseppe Niccoli, where Greenaway is intent on spraying acrylic paint on the walls while a team of young people fill in with black paint small outlines of horses with which the artist has covered the space. Not far away, in the Voltoni del Guazzatoio in Palazzo della Pilotta, an anthological exhibition entitled 'Peter Greenaway artworks' is showing 200 paintings, water-colours, oils and preliminary sketches created by the English artist between 1963 and 1999." (Mimmo Di Marzio, IL GIORNALE, 28th October 2000) "Yet again here he was, Peter Greenaway, with his eccentric figure, but also with his analytical spirit, making his stay in Parma unforgettable. This is the city that adored him at once, and that certainly will not forget him, for his charisma and his magic as a creator of poetry, in a time like ours which is so restless, so troubled." (Gianni Cavazzini, GAZZETTA DI PARMA, 31st October 2000)