From this standpoint, the sculptures he has made in stoneware are of primary importance and significance: a highly unusual process of blending with ferrous oxides creates irregular veins and layers, whose chromatic counterpoint highlights the geometric layout that underpins the structural invention. As I have visited three galleries in Bassano del Grappa that house permanent exhibits of his works, I have had the opportunity to realise how they unfurl along parallel tracks, on which, as I already mentioned, informal abstraction constitutes the extreme, experimental destination, with the same authoritativeness he already displayed in his figurative work – where there is obvious evidence of the strength of an ancient lesson skilfully learned, as well as in any case being necessary as experience and as a technical premise underlying his creativity. Through the formless form, Fiorese can express the uttermost development of the emotion that germinates and develops in him, in every case springing from naturalistic allusions, and that is then sterilised in the synthesis of abstract geometries or the plastic and informal proposals of mixed techniques. This process often grow stronger as a result of Fiorese’s alchemical use of brilliant colour schemes, which underscore his inner energy and clarify his narrative intentions. The effects are breathtaking and distressing, as the observer’s eye is overwhelmed by a complex, exaggerated universe, full of secret nooks and crannies, of tormented fractures, but also of sharp, sterilised geometries and of luminescent effects. As a result of a system of sign totally purified of academic tendencies and distinguished by an essential, anti-romantic dramatism, the development of Fiorese’s oeuvre has now reached complete maturity of expression. At this stage in this short essay, I do not want to consider the chronological continuity in Fiorese’s abstract work, as I would then be obliged to follow only the passage of time, as if it were a question of marking the milestones along a path that has not yet been completed, or of research to come. Yet that is certainly not the case of this artist, who has reached the fullness of a definitive view of himself as an artist, as well as of the world as the subject of his thinking. I would rather pass from one sculpture to another, looking into each one’s individuality, hints and stylistic references, leaving each observer’s eye and taste to choose a path, which may not be methodical, but will certainly be guided by attraction and critical interest. The polished and oxidised bronze entitled Sun, made in 1988, shows clear evidence of the artist’s thinking about Futurism, marking a new milestone, sixty years after Umberto Mastroianni, the first to have drawn on Boccioni for his inspiration: in this case, the sun expresses man’s creative drive, celebrating a sort of optimistic neo-Humanism. But, for Fiorese, dynamism is not so much a mechanical concept as the visual and constructive consequence of an emotional flow. The 1993 work The Signs of Memory is an important sculpture in enamelled refractory clay and copper, with traces of oxides and gold, that obliges the observer to ponder time and space, which seem to be reconciled in the dynamic rhythm of its surface. This work’s formal logic leaves the abstract shape free to pronounce the poetic and dramatic inspiration that generated it. But in the case of the sculpture Metamorphosis in a Sphere, made of stoneware in 1982, there is a perceptibly calm breathing, affectionate patience and possibly a sight trepidation, even in the plastic structure’s tensest moments. A situation like the Cosmic Composition, 2003, a complex structure where plastic, iron and ceramics cohabit and meld visually, is associated with and counterbalanced by Genesis of a Cube, 2004: in both of these works, light is cast on the creative disquiet of a tireless inventor of forms.