The spatial module to which the painter arrived in the post-war period, after the tonal painting practiced in the context of the Roman School, does not mark a break with the past, rather it situates itself along a coherent evolutionary path which, wanting to grasp the tension derived from being immersed in reality , on the basis of the teaching received in childhood by the two little blind men, he intends to extract a single sign from the multiplicity of things. In Surface 141 the tonal and formal agreements of the background - if we can still speak of the relationship between background and figure - contrast with the segmented tears that cross the structure of the canvas from top to bottom and from left to right justifying, a perceptual level, a double reading in terms of direction and speed.