“At first glance the grotesques seem to be splotches of ink and colour that are paired without any real connection. They appear to be a graphic idiosyncrasy that follows some uncontrollable imaginative impulse. However, upon closer look, one notices the intricacy of the lines, strokes and spots, figures, landscapes, trees, lianas, leaves, animals […] In both his grotesques and arabesques he has always been faithful and adherent to the Futurist tone of the second wave of Futurism, which, like the first, asserted "strengths in freedom." He personally interpreted Marinetti’s and Boccioni’s principles and proportions, including "near-far" and "truth-dream." Yet, maintaining his distance from the confusion that his Futurist colleagues surrounded themselves in, he worked and continues to work in silence, with the spirit of a Fifteenth century cleric dedicated only to creating art and content with being true to himself.”

Adalberto Rossi, 1965