Coming from the Design System in its artisanal and industrial declinations, it presents two moments that outline a metaphysical engagement between volumes and materials. On the one hand, the paintings that frame some chemical reactions, overflowing beyond the function of use, the source of spontaneous patterns that weave textures with a random effect, according to a holistic alchemy in which matter becomes a grammatical rhizome between microscopic and cosmogonic. A sort of cellular lexicon that rethinks the floor of the painting in a code of infinite chromo/geometric verses, each one different from the others, each reaching out in an expressive dialogue with the neutrality of the typical white cube. From here the plastic digression extends beyond painting, an action in which Giacomucci’s sculptures – digital natives with real development only for some – reunite the chromatic chemistry in a dynamism between volumetric geometries, pure color and gravitational thrusts. Pictorial explosion and sculptural implosion to bind us to Leopardi’s ambitious themes, to reflect on the poet’s philosophical contents through the overcoming of finiteness in geometry (and in writing).