"As I look at his work, with countless hidden details and appropriate but enigmatic (only for those who really want to study in deep) instructions to catch them, I am reminded of the Roman School of Rorschach and the small group of psychology students (including myself ) that attended it in 1980. We watched the "spots"and we tested ourselves with each other to learn how to master it, we studied the cataloging of responses: those of type G, or global responses, on wich the stain is interpreted in its entirety, the D type that examines the details, the Dd type that considers the details of the details, and it seems to me that there was another kind, Ddi, which concerned an infinitesimal part of the image. I remember that I remained deeply fascinated by the answers of those who, in a tiny smear of an ink stain, was lost in Lilliputians universes where  haunted castles were reflected in the water of a moat and rearing horses fought against hippogriffs or chimeras. In a world like this we fell, looking at his works, where a tiny part (hidden to most) is actually the key to understanding all the work: the storm is evoked by broad strokes, but nervous, almost frantic; but the roar of the waves and the cry of the wind and the gasp of terror are condensed in the microscopic castaway who covers his eyes to defend against albatross: I have not studied enough art history to find out if a trend like this can be defined with a name, but perhaps those who can catch it, deep in his heart, can call it in different ways." (from personal email)