Girolamo Ciulla’s poetics make reference to an ancient languagewith its roots in Magna Graecia: hence the eternal, mythological meaning of his works, which become mighty, silent presences, not so much to be scrutinised but to be revered as though they were full-blown steles to be worshipped. The sensation provoked by the Untitled work is the same, but here what becomes a find with an archaeological air is the famous jar for Fabbri amarena cherries interpreted with formal synthesis and without ostentation in its details, except for one: the name of the firm, which, inlaid into travertine, becomes the emblem of a link to which to anchor the memory, totally immersed in a suspension of indeterminateness provoked by the material, which is capable according to the author – of “giving stability to the form without attenuating that impression of crumbling that must have a figure in the memory”. With technical mastery, the archaic severity of the forms and the flash of colour of the brand become the expression of the values embodied by Fabbri, who always combines tradition and innovation.