The work in question is part of the series of W&W sculptures that were born in the forced constraint of the pandemic and grew up in the need to express themselves in a completely new and unexplored context, according to mostly unknown ways and conditions of life. “With no means available, but activating a passionate experimentation, I started cutting wool strips from my old sweaters, and then knotting them in makeshift metal structures following a free energy flow and without a precise a priori project.” Therefore, ‘alarming’ forms and materials have emerged that can be associated with the disturbing and apocalyptic destiny towards which the Earth is hopelessly projected. The theme of water is certainly among the most lethal and the violent response of nature to the progressive neglect of humans is the clear demonstration of this, with radical changes of habitat and climate revolution, as well as for millennia a source of conflicts and power struggles. Some sculptures, including the one on display, evoke desolate and visionary lifeless charred landscapes, showing themselves with the material of human crisis and failure with an unmistakable and ineffable aesthetic that excites a memory of ancestral crashes and traumas. Its visible patina, which covers a traumatized and upset real, looks like a malignant and ambiguous skin that reminds us of a systematic cellular destruction in progress, as if it were a tragic and preventive suicide.