The complex poetics of the artist, precisely defined by critics as “Wundermeister of our century” on account of the peculiar taxonomic character of wonder, combines the scientific tension of his own being with the creative, giving rise to a special “morganatic marriage” for the sake of art. Poised between the natural and the artificial, the work White, aesthete, greedy looks back over the alchemic process of taxidermy (and the amazement that the embalming technique always provokes) with the contextually anomalous addition of the Fabbri vase that is literally possessed by the greed of the cobra, which is in fact catalogued ironically by the artist as “aesthete and greedy”, making these qualities the very essence of a new species. Like a syncytium, the display case contains the accidental meeting of elements that are extraneous to each other but connected by the “voluntary chance” of the artist, who aestheticises the vision, halting the story at the key moment: will the sweetness of the amarena cherries soothe the poisonous wriggle of the snake?