For its wise and mock-classical factuality which goes back to historical elements with some ironic concession to modernism testifying to the existence of a bond with tradition that fears no innovative impulse.
A fragment of white marble, carvedwith letters and arabesques,immediately conjures up a mystery to be revealed, the key to whichmight be hidden in one of the pillarsof a medieval cathedral. Where willthe trace of Fabbri that can beglimpsed through the roughness of the marble carved by youngGalliani lead? It will not lead to Wiligelmo, nor to Antelami, his famous predecessors from the Emilia region, because the steelwire that comes out of the urn is as shiny as an enchanting snake’stongue and has a red cherry on itstip, which comes close to the formsof Philippe Starck. The contrastbetween the materials used createsan open work, capable of producingmultiple references. When faced with this precious object, the memoryof the ancient Comacine mastersimmediately gives way to that of themodern confectionery masters.