Previously, the visual poetry of this extraordinary artist was based on a trompe-l’oeil effect. Built on the subtleties of a simple axonometric flattening, his sculptures offered amusing questions about their true dimensions. Between the perceived and the felt swam a deliberately nurtured doubt. This stage is over to make way for a much more complex and, in our opinion, more sculptural world. From now on, the third dimension is fully recognized and the artist pushes his investigations even beyond, to send his diverted containers in a spatial ballet where the exterior, the interior and the immediate environment enter into a favorable, strong and accomplished.