The first works were laid out on a grid, again, (theoretically) capable of infinite expansion.

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Further on I discover the void seems to have the authority to determine the limit of the image so the grid is abandoned.

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Free from the geometry of the structural grid, the limit/edge/perimeter of the panel can now become an expressive element of the work, taking, for example, jagged or sinuous forms.

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Thus the advent of the Masonetto, five panels with an expressive perimeter generated by a void, creating a new design element.