The making of the artist Germano Sartelli’s work, in the course of time, from the immediate post-war period to our days. In describing the phases of the creative process, the most authoritative critique has often appealed to front page names of the 1900s art: Giacometti, Burri, Dubuffet, Pollock, Michaux. In the 1900s Italian art scene Germano Sartelli has been the artist “out of the chorus”. His is a formation “on the job”, both classical and experimental, yet of a workshop kind, tied to manual skills, in contact and in interaction with natural elements. He has always operated on the threshold, crossing painting and sculpture, in the name of an expressive and experimental necessity never limited by formal rigour. In spite of a life willingly kept at distance from mundane confusion – committed to personal sensibility, to the intuitive capacity to re-interpret nature an de-compose nature - he has been signalled more than once as precursor, artist ahead of movements and tendencies. The movie camera looks over his artwork; it gets as close as it can to it – wanting to understand, to feel – through the artworks voice, stories, indications and silences. The camera puts its self in listening wanting to find out what substance hides and is able to reveal. It visits his territory and the places where he acts. Germano Sartelli has welcomed the indiscrete eye of the movie camera with his proverbial kindness. Around him a chorus of authoritative voices, the same ones of those who have always had to do with him: Andrea Emiliani, Maurizio Calvesi, Marisa Vescovo, Claudio Spadoni, Dario Trento. The language of art and voice of the conception of the world: in Sartelli action is slow, it follows the desire of knowledge. A rule seemingly universal, not geographically limited. Sartelli’s choice of constructing a “margined” world is a necessity, in constant touch with dialoguing nature, able to offer an entire range of instruments of the expressive language.