The realization of the work is an act that arises after the philosophical exploration. The conceptual background should then reveal and release the existential substrate that is deeply grounded in the body. The unconscious powers, as images or gestures, without meaning, are trapped in plain reflexes. On the other hand, the concepts are created by the primordial effect of the imaginary that nests in the body. I think I should emphasize something we have to realize again, something we have forgotten: that, in the human species, reflection precedes act. And, as the state of being trapped in it is hell, expression-poetic act without reflection remains foolish, since it fractures the unity of the human substance. But I'm talking about reflection, not discourse. To me, these are two different things. Reflection, if it wishes so, can make the leap beyond the dead ends, in which speech results. Sentiment plays here the role of expression – of the bodily substrate, and lies between the circle of act and that of reflection. In general, this is the methodology of achieving form in my work: from the conceptual to act, to the sentimental, and all over again, until the whole process is in balance.
Our intention is to convey the poetic movement of this circle to the viewer. Because all the creative and liberating energy hides in it. The extent to which the movement of this circle will continue, pertains to many factors. But the feelings that emerge as powers of the erotic contact, the dynamics of living forms itself, the connection and the composition with the natural world, are those elements that constitute a priority of expression in a work which is itself a model of life, a "living species". Creative acts –that lie beyond the correctness of a plan and, therefore, are infinite– should restore this lost horizon and seek after the living part in man, looking for the primary level where the distance of forgotten life, thrown and unremembered in today's planned pointlessness, is being rediscovered.