In the case of Italo Antico, on the other hand, sculpture - sublimated into the sign of a path, a pointer for a way that is becoming - assumes more dynamic than static characteristics: this translates into the will of the artist to modify the spatiality within which the glossy stainless steel vectors move in order to estrange them from the ambient and, at the same time, to use them to bind together through a thin spiderlike thread - the ancient masonry constructions that the sculpture laps or penetrates. In the end creating an almost inverted, virtual, projection. ["il luogo della forma"]

Gillo Dorfles
1981