The beauty of this art work lies in the ambiguous force that it gives out, generating a happy short circuit on the formal and symbolic plane. Is the red dripping down the jaws of the dragon blood or cherry juice? And is his clumsy landing with outspread wings on the prey a victory (the vase has broken) or a defeat (the dragon was injured)? The answer lies in the pop culture of this young ceramic artist, second prize winner at the 55th international competition of 2007 Faenza Prize. His global fantasy vision makes us dream of Eragon mounting the Saphira blue dragon, rather than Michael the archangel. His dragon, craving for syrup, looks east- rather than westward, thus becoming an auspicious symbol of fertility and good luck, like in China and Japan where this legendary animal is painted on vases, embroidered on brocades, melted in the bronze pipes guarding the fountains and accompanied at least once a year by feasts and fire works. In Salvatory’s fairy-tale creature however we apparently sense a glimpse of moral: no enemy could have defeated it except goodness.