The sculptures are born from fire, wrought in fire: flame, sudden changes in temperature, particular techniques and baths bring out the hidden colours and forms. The process that gives harmony and aesthetic rules to these enormous sculptures is a skill not learned easily. The sculptures are forms of beauty born from the elements he uses.

The harsh, rough sheets of copper and brass are hammered, heated to melting point, burned, suddenly cooled and wielded with artistry into symbols; then the tortured nature of the sculptures is softened, made tolerable, almost pleasant, by the falling sound and visual magic of water.

The freshness and living presence of water is part of the artistic work. The sound of the falling and rising water is sometimes gentle, sometimes violent. At times the water is born of the sculpture, at times it seems to lift and give existence to it. The play of light on the reflected and reflecting surfaces creates a continuously changing sequence of variations and modulations.

Wrought iron, stainless steel, copper and brass: these are the metals used to give the sculptures form. It is fundamental to respect and work with the characteristics and qualities of each metal. In these metals malleability varies with temperature; however, brass becomes brittle when heated to melting point and great care must be taken when working it.

Iron and stainless steel are the more formal metals. Form is achieved more from the rigidity than from the colors and hues of the metals. Of the two, stainless steel is even more difficult to work with: its characteristics cannot be changed and they determine the shape and quality of the final work.

Brass is noble. Its similarity to gold gives it a majestic presence. Its color can be changed somewhat; grades of luminosity or darkness can add plasticity to the sculptures. In the larger sculptures there is a sense of weight and mass which adds "sheer presence" to the artistic expression. Brass can be used with copper to add further color and visual dynamism.

Copper is the most ductile and malleable of all. It can be shaped and molded to whatever form the artist may have in mind. It also permits greater experimentation with flame and acids. Sometimes deliberate oxidization is used to achieve subtle variations in color. Colors range from light green to a strong cherry red.If not protected with a synthetic base, it oxidizes with time and the presence of water. This too must be considered when using it: the changes in color it will undergo in time.

The sculptures are worked using an oxyacetylene torch. Brazing is done using various alloys. Each metal requires a particular alloy. Experimentation using a silver alloy for copper has demonstrated the aesthetic possibilities of silver brazing on copper.

The fountains manifest an extraordinary intensity of sensorial emotion. Although structurally static, they seem to move in a continuous flow of waves, among lively jets of water. The stylistic novelty of these sculptures is to be found in the controlled and coherent use of spatial relations. The fountains are a complex association of sounds and reflecting surfaces, which change with the movement of the water towards and on the sculpture.