The idea behind this body of work was simple, quite literally simplicity. As it progressed it began looking to a mélange of approaches, as art normally does; initially it considered Islamic seamless patterns as its origin, a beautiful and subtle continuation into space; then it began to add and construct its own form. The pattern is born as the base, the eye catcher, above it come payers of glazing, and eventually geometric slashes cut into the metal, thus giving birth to acontradicting geometry. Which is the one to follow now? It is inconsequential; any direction will do.


Arte Povera reacted against the establishment of methods and materials; but breaking that status quo today becomes more improbable, and arduous. The cuts origin is erotic in nature, then becomes geometric and more complex, but occasionally returns to eroticism. It is not for its own sake but rather to challenge the tradition of the seamless pattern itself, cemented in the suffocating limit of religious imposition. The metal and its component are now free and unrestricted by dogma.