Paradigma, 2002

An iron frame in the shape of a parallelepiped, divided in half, features the sides of the lower half occupied by a sheet of Pietra Serena. The sides of the upper part are shattered in fragments, arranged on top of and inside the metal frame (some of them are lying horizontally, while others are tilted), as well as scattered about on the ground. In the upper half of the parallelepiped, moreover, four metal rods stretching between the vertices of the structure and intersecting at the centre mark the diagonals and hold the mineral fragments turned vertically.
Two equivalent and complementary situations contradict each other, defying every univocal statement: the integrity of the surfaces that define the sides of the lower half are offset by the destruction of the upper sides; the full clashes with the void, closed with open. Overlooking the polarity is the workshop of a work that is undergoing definition, in search of its own “paradigm”, stated through the ideal rigour of the geometry, but ineffable in its concreteness, which becomes lost in a multitude of details.