The idea is that, mixed with the “emulsions” of meteorites and crystals, the retroreflection of the cloth can stimulate dream activity and retain its products. During those seven days in Villa Romana I slept and wrote a great deal… The cover effectively functioned like a spatio-temporal door onto a reality other than my daily one. In the “family” of works, “The living” are suspended mid-air – as in the REM phase, they are asleep and yet supremely active. They form a pentagon that creates a continuous surface on which “The descendents” can be projected, like the potential figures that they are. “The descendents” appear in the form of holographic haloes produced by simple light-emitting diodes – pure energy. The pentagon is like a chapel and, rightly enough, contains “The ancestors.” These are true funereal sculptures. A base in marble or granite – widespread cemetery materials – floats on a surface of water. The graveyard is like a Japanese garden, an environment not dry but alive. The bases support tentacular objects. Their surface too appears mineral. Seen from above, they look like the letters of an alien alphabet, or otherwise labyrinth plants, or… Jacopo talks to me about exoskeletons and lymphatic systems: conductors – and indeed it soon becomes clear that they are tangles of tubes. An aqueous vapor comes out of their extremities. The dead breathe? Their souls gradually disperse from their bodies? Adolfo Wildt 2.0. But also a wink or two at Giacinto Cerone… On top of the lymphatic forms/systems, in correspondence with the sexual glands, Jacopo places jewels – gifts. And so, from the dead to the nascent, the circle of life closes and reopens. Jacopo thinks of his show as a funeral, a wedding and a baptism… in a blender. Even though the show, as such, would be enough for a rite… In any case, welcome.