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The artist began these works in 1965, opening the way to a more purely ‘conceptual’ research in which “once again the aesthetic operation was not the creation of forms ex novo but rather the appropriation of objects, people, situations, and quotidian objects” (G. Belli – A. Marchionne 1987). The "appropriations" consist in an intervention on objects through a “repeated and recognizable superstructure” which results in a personalization of the object itself, such as the application of artificial snow upon objects or of a nail hammered into sculptures so that they are pierced through. Since 1969 he developed the same process by applying his golden squares which were “also converted in flags” and used as a “sort of trademark or personal seal, heraldic, superposing it on reproductions of other artists’ works, magazine covers or other extant illustrations” (Remo Bianco). 

The artist also executed the Sculture Neve (Snow Sculptures) in this period. These are a sort of still life in which objects, for the most part small and referable to themes such as childhood or the passing of time, are covered with a layer of artificial snow and then placed in a plexiglas box. Then there are the Sculture calde (Warm Sculptures), marble sculptures of male and females bodies which invite the spectator to touch them since they are heated by way of an electrical current. The Trafitture (Piercing Sculptures) are marble sculptures which represent subjects fixed by fastenings. And finally there are the Bandiere (Flags) through which Bianco creates his own flag of golden squares putting his own art motif  “where life and reality are used to refusing it, in order to remind everybody that art needs its own flag” (Remo Bianco).