Two wrought-iron "rods" with volutes and squiggles frame the top and bottom parts of a slab of Plexiglas on which I painted extracts from my diary, magnified to various sizes. Enlargement makes the meaning of sentences and written words unrecognizable, as will be the case in "Little writings" a few years later, when the small size of the pages will make the meaning of words undetectable. My diaries are the containers of the meanings I discover from time to time in the events and phenomena that characterize my life. Making such meaningful writing unrecognizable highlights its thaumaturgical, magical, shamanic power. Although meaning is denied, the magic of wordsdoes remain. On the volutes and squigglesof the wrought iron rods, I inserted small metal letters, both positive and negative: letters, as the prime elements of words, are the basis of language and communication, however here they do not create language,they are rather used for their physical, concrete, non-intellectual value of pure signs. Thus, they have "emancipated" themselves from meaning and becomemere traces of a path whose orientation is lost. Making meaning unidentifiable, preventing meaning is a recurring theme in my artistic production. Many works do explicitly refer to such negation: for example, "A deep O", "Little writings" or "Autobiographies". On the other hand, my inner life itself suffered denial for many, many decades. Exploring this phenomenon in artistic terms meant exploring it simultaneously in emotional terms. It was a way of looking in the face, and dealing with, the lack of sense in my own life and of finding a new meaning to my existence. The content of this work is letters and words, the elements of language and communication, which I deniedin their communicativecapability itself. Sense remains closed, blocked on the surface whereas the context of writing refers to a deep inner reality. Transient in this work is the random choice of written texts and their manipulation, while original is the energetic set of its elements that recalls baroque richness from an aesthetic point of view, whereas on a deep perspectiveit echoes my emotional denial. The meaning of words, in this case written words, is undetectable, sense is lacking. As in "A deep O", here too letters and words are not carriers of meaning. In my life at the time, events followed one another without a logical thread, mechanically and without leaving a trace. Only after my encounter with Buddhism did each event begin to gain meaning in a broad perspective, the past acquired sense and an absolute value, the future became knowable through the causes posed in the past and the present, the present revealed itself as a basic moment of choice, determination and responsibility.