The plasticity and the geometric volumes that materialise in the artist’s first papers are connected with the idea of a “linea di fermo” at the base of the painting, the original straight line of the first graphic sign impressed in history. In this context the space-time coordinates of the artist move transversally and go back to the idea that Time is a base line on which to move, to discover, and reveal what is not seen and is underlying Art.
Analysing the backdrop of the Mona Lisa, in which the presence of the “linea di fermo” can be perceived as underlying the “Leonardiano sfumato”, Fossi skips the current coordinates and returns to the ancestral, imagining of the first sign imprinted by the primitive in search of visual and decisive communication. The decomposed structural modules in the early stages become matrices of a primitive time that return and recreate with the same vitality of the past: that combined, give rise to an imaginative, archetypal bestiary proper to an aesthetic and creative childhood. It is the rebirth of the sign, as a first expression, by virtue of which the base line evolves into a metamorphosis that cancels scientific time to arrive at a time of consciousness that retraces its steps from the zero degree of the first and founding idea, from the which art has begun.