The question of the paint coming away led to a reflection that resulted in an experiment with another artist (beginning in 2004 and never finished).
I thought of provoking somehow through her hands the flaking of the painted surface, blending a process of deterioration with another creative act.
I allowed Elisabetta Di Maggio to work directly on the work with her gesture of excavation, with her scalpels that cut the substance I had added little by little over the years with my brush.
Something was revealed that contains two opposing and complementary gestures, but which in their converging give life to a form.

(Written in 2021)