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Marcolongo's vases are conceived as real sculptures, but also as living forms, which feed on air and have their own    skin: this is    another key term   of the artist's   production, who is a master   of   the epidermal    surface. Marcolongo's glass changes its skin in the sense that it does not reproduce the traditional glossy transparency of a vase or a murrina. Iron wool and filings   become smeared and amalgamated with  the incandescent glass, corrupting its icy purity but also infusing it with that fruitful imperfection   that is typical of natural life.   Each of Marcolongo's vases represents a unique piece, in which the dialogue between   the surfaces is always different and in    which the    grinding - that is the   processing of the  edges - is the result  of combinations, sometimes unpredictable and risky  experiments.    We are   therefore not faced with   an aseptic work based on geometric rationalism,   nor  are   we   participating   in  a minimalist  logic linked   to the pragmatic   order of an aesthetic enlightenment: rather what is taking place is a marked sensitivity for the organic figure.