….. starting with elementary structures, embellished on the surface by the material quality of powders and metals, with an intrinsic plastic vocation, Dal Molin then began a “purification” process under the stimulus of a general cooling that occurred under the skies of art.The metals disappeared, except in the epidermal iridescence, surpassed by a rational conception of form that keeps its expansions, its arching under control on the path of objectivity and which marks its surfaces with Cartesian geometries. Wooden forms that, swelling, in the breath of the wave, rationalise an organic motion, while expressing the desire to exit the two-dimensionality of the painting, without addressing the free displacement in space. Intermediate phase between painting and sculpture, like in the past, the “relief” designed to adhere to the wall. With rounded and wavy forms, concentrated emblem of a furnishing ancestry, Dal Molin has moved on to the sequence of triangles, still arched, each different from the other (multiplication yes, but with discarding) deprived of the Cartesian chessboard, in a further formal decantation. Polished surfaces, animated by transparencies and glazes of a chromatic material that does not give up, despite the perceived need for containment. Because Dal Molin’s ambivalence consists precisely of this: on one side, the rigorous formal control, the categorical reduction that pursues a purity imposed by reason (echo of the rationality that governs the modern world), on the other, the irreducible depth of a pictorial culture, of an intrinsic “beauty” in creating art that dates back to the mosaic glows of San Marco. And the sequence of elementary, archetypal forms, oblivious to complexity and articulations, is transferred to paper, absorbing in the delicate and severe chromatic transitions also the quality of a wider environmental, landscape dimension; the same one that became complicit in the Renaissance Venetian splendours.