Dorfles wrote:

I did nothing else than describing, with the simplest of words, this sequence of six tables which Papasso engraved. They constitute, as you like it, a track and a story, or a chant (i.e. canto, canta) if we wish to attain ourselves to the title of the opus.
They are tables of calibrated levity, of sophisticated execution, where every single element is linked to the previous one, as well as for completing the meaning of a speech’s premise. This speech needs to go on and, in fact, continues to evolve by self-widening, self-deepening as far as one follows its iter. Eventually, it ends up with a last word more peremptory and definitive than any preceding one.
In this sense, may we speak about the transposition into visual signs of a tale told by the author?
Shall we then evoke analogies - effective or presumed - among circular, rectangular, linear patterns and the probable feelings agitating the artist while he was composing these tables?
Or, wouldn’t be right to reaffirm an equivalence between some morphological elements and some ethic & aesthetic atmospheres ?
Concede Papasso the right and duty to follow his own "poietic" line (and in this case, we may as well call it poetic). Not because I wish to assimilate too strongly words to graphical signs, but since these sheets, so silent and wary, remind me the procedure of a in fieri poem.
They make me understand the qualities, not only technical and of high-rank craftsmanship, but also of sensitivity and thought the artist from Tuscany is so acutely and unconsciously aware.


Gillo Dorfles, 1981