Davanzale per un colore, 1982

In the mid-1960s, Icaro began creating essential shapes in metal, expressions of forces and thrusts, torsions and rotations, almost as if to try out – through an idea of organic, corporeal movement – all possible articulations and disarticulations of sculptural form. To do this he shattered the rigidity typical of this discipline, breaking contemporary, minimalist segments, only to then connect them with chains, as if they were links created by an idea that destroys but does not forget the image of the whole.