Dorfles wrote:

[…] Even in the earliest etchings - of which he is a master - it was possible to see the artist's almost imperceptible will to draw out the images with a basic equilibrium of scarcely discernible differences of plane, level, light and shade. This was the case in his first collection of prints "Genealogia" (1976), in which he first introduced the use of Papiers Froissés (crumpled papers), in the 1981 collection ("Canta") and in the works which followed, "Re/Spira", "Forma Naturae (Archetipi & C.)", and "Racconto" (from '82 and '83). And it was, in fact, in connection with the publication of "Canta" that I had occasion to write (I apologise for the self-quotation, although it might also serve as a "key" to the later works):... […]

G. Dorfles, 1989