In "Gli altri" (The Others), drawing becomes the instrument able to receive the reality full scale through the technique of rubbings, visible on the floor, where one hundred stones are arranged alongside one another. Nothing is left to chance: even with the obvious difference in writing, languages and dates, the tombstones numerically tell the story of the unraveling of the life of Man, because the distance between the dates of birth and death shifts from 1 to 100, in a slow but inexorable dilation of time. All the ages are covered, and rubbing – a humble act of recording by a virtuoso of drawing – becomes the delicate, but decisive, instrument at the service of an “archeology of the soul”, meaning a quest not so much for the remains as for the intimate and deep roots of life. The tombstones tell stories, pass the baton, stopping right “at the end of the line”, at that point of passage from life to death an elsewhere, perhaps. But the alignment of the stones also recalls the game “World”, suggesting a playful means of fruition, by skipping, to move from the earth to the sky, in a journey made up of advancements, steps backward and objectives as in hopscotch, pushing thought to concentrate on that position that the body assumes when it jumps, when it is no longer resting on the ground but is suspended, between open-endedness and vital momentum.