The artist's process is profoundly different to that found in traditional sculpture, in which the sculptor starts off with a block of stone - which contains the desired and imagined form within - from which he removes surplus material. In contrast, for Mattia Bosco, the sculptor's intervention is simple, confined and restricted, and aims only to draw out and purify the form already present in the stone. Form and material are thus inseparable: by nature, stone always leans towards a certain form, and is therefore already a potential sculpture.

The artist selects the rocks that fascinate him, right there in the quarries, from among the extracted fragments. Providing them with a base, he positions them vertically or hang them and then sets about making his own mark on the surface of the stone, using rotary cutters. There is a relationship of collaboration between the artist and the material: "It is not a case of man on one side and the world on the other, […] the relationship between me, who is sculpting, and the material itself, is a tussle between two parts of the world, engaging in a show of force." 

In order to further accentuate certain forms and lines in the stone, the artist applies gold leaf. This series of works, entitled "Sezione aurea" ("Golden section"), was born out of the observation of rocks containing mica. Thanks to this mineral, which makes the stone sparkle, the artist decided to crystallise this golden presence, using gold leaf. For Mattia Bosco, if stone is the solid incarnation of time, gold is akin to light, in solid state.

Mattia Bosco’s wall sculptures do not require a specific hanging system. They are delivered with a hook mounted in the back, provided for a classical wall hanging.

This artwork is a one-off piece sold with a certificate of authenticity.