"ORDO AB CHAO" SUCCESSIVE REPRESENTATIONS OF SPACE     I am interested in the profound understanding of the void and the infinite. I use perspective - geometric or chromatic perspective, and even the early approaches to perspective adopted by ancient civilizations - in order to enhance the void and to create a vast space; this space is often desolate, immovable and immense, and its character is further enhanced by the human absence which brings out an aspect of our present world. I sometimes use perspective in a deliberately unconventional manner as I find this very significant. I often "break" the perspective with a second plane. This second plane which I introduce is sometimes the wall and remains neutral; alternatively, it may be a new painting surface, or it might even reflect the surroundings through a mirror.

This surface progressively begins to teem with a gesture or writing, as a result of my instinctive desire to render the untamed and programmed evolution of nature. The environment is a combination of nature and the products of technology; inevitably, it affects our optical experience. I observe the structures of the modern world from a geometric point of view, I formulate imaginary spaces which may, however, be real.
I study light in such a way that shadow defines a surface. In effect, I replace line with shadow. In certain cases, between the first and the second plane, I integrate a fluorescent or non-fluorescent colour (red, blue), so that it lends colour to the shadow cast by the surface.
There have been periods, as 1976-82, when I used fewer colours and allowed the shadow to define the surface, while I sometimes narrowed down my choice to only black and white. In 1978 I began to incorporate in my paintings black and white stripes of progressively diminishing thickness. These stripes are studied according to the geometric problem which I pose in each work. They tend to enhance the feeling of depth and, depending on their mathematical progression (for instance, logarithmic), they make a plane surface appear curved. This is another method I use in order to create the optical illusion of depth through plastic and geometric means. I believe that illusion is present in art. In order to enhance the optical illusion, I use the linear perspective, mirrors, or reflections in water: symmetry, together with other geometric and painting devices.
The sketches and the structures of this period are often proposals for the creation of entire walls, or even of a whole room or environment. Each subject can be brought to life in numerous, entirely distinct ways, depending on the space it will occupy, its dimensions, the materials used, and the method of construction.