The form is no longer analysed. It is projected. The fish no longer pauses to understand itself: it advances. It multiplies, leaving trails behind. What matters is not what it is, but the direction it imposes.
I approach the sculpture as a sequence of impulses. The form does not break apart to be understood, but to intensify itself. Each repetition becomes a trace; each deformation, the mark of movement.
At this point I enter into dialogue with Boccioni, Balla and Thayaht.

The form has been pushed to its limit. What follows will not be to construct it, but to point at it