The idea of a marble bench identifies an opposition, between a material that is in itself precious, but also rigid - in its coldness and formality- and an act - sitting on a bench - ordinary and civic. This tension is explored in the composition of the object, exploiting a further property of the material, its plasticity. When sculpted, the surfaces of the marble soften, resambling skin.This double camouflage nature of the material is reflected in the name of the work, 'caro' latin for flesh but in current Italian a colloquial formula of affection. Mimesis becomes a theme in the composition of the three volumes, whose anthropomorphic tones and forms meet, entering one into the other, identifying two seats at two different heights.

The interplay between the shapes that abstract the soft curves of the human body and the stone as a load-bearing element element is also reflected in the choices of marble: the red tones of fior di pesco and filettato rosa recall flesh and skin, while the pedestal is in cipollino.

The tension between the volumes becomes explicit in their joints, between curved parts and edges. This complexity of forms incorporates classical archetypes, such as the volute and the drape, and overall creates an iconic, but also ironic and humble object, as an expression of the immanent tension in the use of a precious material for an ordinary gesture.