....Although there is no marked attempt at symbolism in his work, the symbolic plays an important function. He uses forms from the image-producing function of the mind; expressions of his background, experiences, beliefs, and emotions. He transforms what he has seen in over three continents to a point where the original human-cultural contents are no longer recognizable on a visual level.

It is a constructive manipulation of his ideas of history, culture and humanity transformed and expressed through spatial relations, volume, line, color, and ultimately forms. He prefers using regular and apparently simple geometric forms. Large-scale works made up of block-surfaces launched in upward movements or static totemic forms in which sheer size is part of the objective statement. Observing these works one is aware that mass and space become separable only in thought; in fact surfaces predominate in an extended movement through space, enclosing and enfolding space, creating further surfaces and shapes within the sculptures.

Volume and surface, light and color are used as artistic elements. Some sculptures are designed to be seen primarily as volume; others as configurations of a number of volumes. The symbolic form is often treated as a series of planes, each of which corresponds to a major part of the object. In the latter, the planes define the structure of the sculpture and are the part of the sculpture that enters into relations with the viewer's space. Such an association with outward movement, with expansion into space, is felt by the viewer.

Fountains are used to achieve two results, depending on the sculpture: a sharp definition and clear articulation of forms; or a subordination of the individual parts to a more subtle flow of the composition. The distribution of light over the forms depends upon the direction and intensity of the studied jets of water used as part of the composition. However, because of the unforeseeable nature of flowing water, the final effect of this light is spontaneous.

The physical process of working metals is for Ubertino an integral part of sculpture, and his response to the working qualities of the material, malleability, hardness, and texture and so on, is evident in the finished work. The qualities and interrelationships of forms may be subtle and complex or linear and geometrically simple.

Ubertino has always worked with architects and engineers in the final installment of his sculptures. The positioning and fixing of his large sculptures involves elaborate plumbing; designing and placing of bases: the site and the kind of spectator requires careful thought. Choosing the materials, shape, and proportions of the base even for a small work requires considerable architectural know-how and careful planning.