The preparatory model of Centrifugo reveals the essence of a work that challenges monumentality and rethinks sculpture in urban space. On a reduced scale, the model conveys the tension and dynamism of a body that is detached from its own stability, tilted, deconstructed, almost precariously balanced. The wheels are not just support, but extensions of the sculpture itself, evoking the centrifugal force of movement. Like an athlete bent on a bend, Centrifugo is rooted in the road and paths, to be observed in transit, becoming a fragment of a kinetic landscape.

By 'kinetic landscape' we mean a space in which the perception of the work changes dynamically with the movement of the observer. In the case of Centrifugo, the sculpture is integrated into the roadway: its inclination and position on the hairpin bend create a visual experience that is activated and changes as one passes by, preferably in a moving vehicle. The sculpture, therefore, is not a static object, but an active component of the landscape, perceptible in its entirety only in transit.