The installation site specific installation includes a series of interventions in the space through the insertion of wooden planks that dialogue with the nuclei of works, in a cross-referenced relationship between one work and another, determining a temporal configuration of the representation in its becoming.
The wooden boards are conceived as projection boards; stylistic feature of the artist's installation poetics, they are usually propped against floors, walls and corners of the room while, on this occasion and for the first time, they are conceived as suspended like a compass needle: they do not indicate cardinal points but there they allow us to "orient ourselves" (and hinder us at the same time) in space.
Painting and sculpture interpenetrate, and complete, offering us a third way, a new proposition, of grafting, of indefiniteness, as the dimension to which they tend, not only and not so much in space but, above all, in time: sheets of iron that creeps into the canvas, passing through it, are both interruptions and contiguity. It would be an understatement to say that the Campus exhibits show the process, it would be more correct to say that he shows, he thinks of the works as unitary entities, a set of several parts, the sum of which is greater than the parts themselves. Recognize relationships, identify measures, establish connections.