In the Turin-based LP220 gallery of Franz Paludetto, on January 12, 1971 the artist’s first solo exhibition opened its doors. The show was organized in a series of three rooms, each containing a different work: 6 canne per il naso, 10 frecce nei colori di minerali, and Costruzione del segno. . . . The works shown in the gallery can be understood as an “act of a process transpired, for which they do not represent an end, but a given point in time and space,” which the artist sums up as follows: “I have traveled for 10,000 kilometers. The walking sticks of the journey gathered in the land of Meknes have nothing of the voyage—they are the voyage. Setting off with metallic illusions to the sunset of Asilah, I have . . . the fixed radii of the construction . . . Fez gave me the rods for the nose. A thread remains.” Not by chance Bagnoli, in an article published in La Nazione for his friend’s first solo exhibition, provided an early interpretation of his creative process, which can be located at the gaps of an inner dimension “connected . . . to the search for a new type of man, a new comportment of life.”