Here we have not figures but geometric forms, which, however, constitute the figures of our age, inhabited as it is by technology and straining towards the dematerilization and the abstraction of the physical. But art tends instead to render form evident, to give a physical presence even to geometry. In fact Schatz’s forms, whether in two or three dimensions, are always concrete linguistic realities, statements of an order of ideas that is never repressive and closed, but fertile and unpredictable. In every case, the forms germinate and multiply with unexpected placements that unfold the potential of a new geometric eroticism. These forms are always of a domestic monumentality, which does not allude to the arrogance of American skyscrapers or to the rhetoric of sculpture. Utilizing this approach means not wanting to engage in a conventional war against the forms existing in reality, but instead creating a linguistic field of analysis and synthesis. Analysis as a product of the possibilities for verification upon the germination of these families of form and the observation of synthesis that produces the delicate power of the whole as it unfolds under our eyes.