There’s a very powerful material impact in the last masterpieces of Fiocco. The recurrent themes are those of the horse, the bottle, the heart (as a playing-card?), the tower of the chessmen, the tree. But it’s the horse that is a permanent, constant swivel of this evoked world, somewhere half-way between the attentive observation and the lure of perceptions, of fantasies seen in the dreams (or thought of), to start with a real tangible idea that gets re-elaborated and in the end is returned as a archetype. This way the horse-animal observed with extreme sympathy, gets transformed into a kind of HORSE-FORM, not real any more, but the last and the definite version of some process of elaboration, that touches and involves even memories and/or personal nostalgic feelings ( the rocking horse, evoked in a stylized form, but still well comprehensible), the horse as a caretaker of the world inhabited by the references very dear to Fiocco, almost firm points of view of the poetics circumscribed but significant: the bottle ( meant in this case as a simple object or, probably, as a medium for introduction in the domain of sensations?),the omnipresent heart ( the paying-card? The amount of feelings? The risk to have some amorous delusion? The tangible sign of the sentimental hazard?), some flower, more often scattered “postcards”(or at least perceived this way) like those arranged randomly on a panel and put into a cupboard to remind of holidays, affects, persons and faraway places and the tree (the real one or made of paper). This is the world of Fiocco, who lives in an apparent mess, as if the described elements act alone, each one separately. In reality, if thought better, they constitute words, phrases, pauses and periods of a figurative discourse, developing around a set central theme, that later gets filled with different variations, digressions and in the end returns and finishes with the prefaces.

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