The research began by chance, after a return trip from America, with a series of sculptures entitled "The Chimneys of Venice" and continued with other works presented in various Italian and American galleries.

"At the beginning, I was interested in glass as a means to express architectonic forms present in my mind. I liked the Venetian chimneys, not only because I was surrounded by them, but also because they seemed like architecture in miniature. And in fact, by means of a study of their geometric forms and the infinite possibilities offered by composition and "decomposition", I hypothesized "A City Above" that then became the theme of an exhibit I presented at Grandesign in 1995.
For me, the chimney becomes the prototype of a form that is in a sense "indifferent" to its original function, a form, that is, no longer linked to normal biological rhythms, but rather one that becomes a return to categories of memory.
Venice is full of these architectural structures that I define "distracted architecture" such as fountains without water, wells, chimneys, columns sustaining nothing, empty houses.
Reinterpreting them meant expressing them as a metaphor, that is ,to experiment with the use of the useless.
Liberated from its function, the chimney could thus become a glass vase, a lamp, a building, a city, simply by changing its dimensions.
I hypothesized a tower-like structure and inserted it into various contexts, both living and urban ones; I constructed a series of elements, transformed the tower into a vase from which an enormous "ikebana" descends, and transformed the vase into a tower.
I then passed on to the study of the material itself, that is, glass, as a possible means of expressing itself by imitating something different. I was able to create the effect of crumbling plaster and the metallic effect of moon craters."
The chimneys were exhibited at the S. Niccolo' Gallery in Venice and at the "La Fornasotta" stand during the Grandesign Exhibition of 1995. They were published in "Elle" and "Il Fascicolo" magazines and the "Excelsior" newspaper of Mexico City. They are now in private collections in America and France.

Inevitably, my interest in form led to an interest in " points" of equilibrium.
Thus the "Ikebana" series was born: the putting together of rather fragile objects created with the lampwork technique and then hand-painted. The study included the creation of a number of perfume bottles with stoppers held down by their own weight, or that, to the contrary, rise up like an Olympian bow , candleholders in which pointed barbs balanced by extremely fine fishhooks are inserted, swinging spherical containers, stoppers in the shape of a heart or a gymnast's ring.
The choice of color lines accentuates dynamism and creates rotating movement.
The entire "Ikebana series" was bought by the "Design Center" of Boca Raton, Florida.
During this same period, the Belvetro Gallery of Miami was organizing an exhibit entitled "Aids Under Glass".
As one of the artists invited to participate in the show, I was shocked to discover that 40% of the population of Miami is HIV positive.
My proposal in glass, called "Excalibur", was a sphere, 30 cm in diameter, with a flat base slightly off center to give the idea of movement caused by the lancing of a sword from above.
Like the sword, the sphere, with red points to symbolize the virus, was worked ad incalmo. A small Jesus fashioned in lamp work by Lucio Bubacco, hangs downward.
The meaning of the sculpture: God casts the sword/cross onto the world, which is the Aids virus. The sword/cross pierces through the virus and Jesus, nailed on the cross by the spear, dangles downward to one side. "HIV Positive" is written on the cross. Jesus takes the disease, that afflicts the earth, upon himself to save the world for the second time.
At the time, criticism was negative. Despite the accusation of blasphemy, the sculpture was chosen for the exhibit and sold three days after its inauguration.

In 1998, the theme of "Aperto Vetro" (Open Glass) was "Venetian Glass and the Four Seasons".
Thus "Apache Summer" was born - a series of filigree leaves mounted on a bamboo pedestal, symbol of the tree. Lying at the foot of the tree are other leaves created with the same technique.
"Apache Summer" was not only chosen for this important exhibition but was also selected to be put on permanent display at the Centro Thethis , where it shown together with works by well-known artists such as Livio Seguso.
With "Apache Summer", I again took up my passion for naturalistic themes such as the leaf, the seed, and stones that had previously inspired me to design objects such as "Stones" and "Tropical Bird", derived from an interest in Zen gardens as reduced-scale examples of, for the most part, monochrome universes.
When I created "Stones", for example, I intended to arrive at a natural form with sharp edges, having the monumental character of the stones utilized in the famous Daisen-in, perhaps the most beautiful example of a Zen garden. To accentuate its monumental nature, I inserted a small palm-shaped origami into the top of one of the stones: from its size in proportion to the stone, one has gains idea that the stone is a mountain. This is the sense that I mean when I speak of the miniature universe of the Zen gardens.

The "Navajo" vases created subsequently, constitute a symbolic and abbreviated form of the same concept and they too, refer to the ikebana works, in the sense of fusion between the contained and the container, the same theme that pervades all of the experimentation from the times of "Chimneys".

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