The band winds through a figure-vertical background and sharps takes that mark the times and spaces of the narrative, and serve as supports for the relocation of a fragile bridge-cartouche, light and symbolic, almost thrown into the void.

The figure-vertical background should be read as a guardian spirit that serves as a guideline; it is a fulcrum figure which suggests extensions in different directions and,at the same time,it is axis of the junction, crossroad and meeting place. Resting on the ground, it stands as a cape-tower flanked by islands with distinctive characteristicssurmounted by stone-mountains.

These are islands-appendices to give identity to a placeseen from above and taken vertically from the center-point of oxidized iron and placedon the peak of the form-background.

The islands are elements that from a relatively unitary initial form come for differentiationtoautonomous forms, distinctand yet,because of other bonds, hybridization cannot be prevented. The islands do not mean the abolition of the possibility of exchange,contact, even if they appear as formsin a vacuum,as pauses in the sound. Through a stream that bring so ther characters, the islands do not interrupt relationships, bonds, alliances.

The islands, a bit like urban blocks, represent a mutual transition element. The Island as the Roman insula, is thus limitedspatial meaning only in the surface but with extensions and branching relations. The errant islands, which ancient legends described as being able to move. Human islands in the sea of wandering and changing men. Islands like raised platforms, they tend not to reduce, but to create contacts.

Ignazio Bellini

Essential, but not minimalistic the paper rolls unroll in long horizontal stripes, where a mix of word signs and traces of the brush indifferently coexist.

The pleasantness of the ink is emphasized, the nice articulation of three-dimensional elements with refined shades, the alternation of the abstract fluidity of the sign with the detailed annotation of short episodes.

Wide and thin characters still mingle, dark and light, large and small, constantly changing shape, dynamism and size scales, where everything changes and is transformed: things, places and environments in that uneasy combination that is ingrained in us.

The strips that pass between the horizontal rolls are supported by subtle cables that hold them up and are mark their relationships: lines and traces that connect points to force vectors. Others are suspended vertically between pinnacled rolls, slight and slender that mark the path and

“delimitation is not that on which something stops but, as the Greeks recognized, is that from which something begins its presence”.

(Heidegger)