... because Toniolo - I don't think too many doubts are possible - lives in direct contact with the chaos of the world: he has a nice job to do, with his decisive and now mature technic, with his instinct of the right spaces and of the passionate colour, of the categorical sign and of the precious materials, to put order and grace in the experience that he makes of life. The frenzy of a hungry man and of a man in love: this is what erupts from his hands. And let's collect the pieces of these explosions on his canvases and drawings, pieces that still retain the taste of true and genuine things, like the pages of a man's diary: a man - if God wills - for once, really alive.
Toniolo is a man deeply attached to his land: for years (even the artist himself has confided it to us) he lives almost segregated in Giubiasco, working non-stop. And yet he is not, either in the provincial sense or in the universal sense, a cantor of his land through the expressive instrument of painting. In other words, he is not an artist with naturalistic roots, not even in these modern declinations, which have been theorized by the great and late lamented critic Francesco Arcangeli. Toniolo's painting is highly expressionist and his colours have more psychological than natural values: in some works they make us think of Ensor, Munch, of these Nordic masters...
... from the figurative and expressionist protocol, the work of Ennio Toniolo has moved towards the informal field, the new informal as it is now being supported from many quarters. A sign, a historical fact of confirmation, a burning sensibility towards that research that has led him for years to a restless, exalting mobility, of rebellious conscience...
Ennio Toniolo shows us, going beyond the limit, the courageous will to "read" with the instrument of the brush the musical notes, to colour them, to transport them from the spirit to the canvas, and this without making them lose their sound charm, their immateriality, keeping intact their subtle perception.