The intervention of Francesca Lazzarini was of great importance for the piece, not only because of her fantastic skills as curator, cultural promoter and partner in crime, but because of her continuous insistence in going back to our original idea of circularity. When we changed our minds in making a pedestal from fragments or accumulations, we overpass the importance of the circle.
The form of that rose of the winds seemed to be dismissible at that moment. But it wasn’t, on site it made more sense. The shape gave coherence and articulated a structural directionality just highlighted later with the arrows. The roundness, as I called it joking, is determinant on the cohesion of the piece with the open space.