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.