I "emancipated" a set of alcantaracolour samples, hanging all the fabric rectangles at the headboard of my bed. I divided the 47 samples into 8 columns of 6 rectangles each (the first column consists of 5 rectangles), maintaining the same arrangement that they had originally on the pages of the catalogue. The transparent threads by which they are hanging apparently make the colours float in the air, as if they had no support to hold them. The result is a colourful and ethereal “wall” enrichingmy black wooden bed with a series of shades, as musical counterpoints. The idea that over a bed (intended for night rests, designated to stay in the dark and silence) cheerful and boisterous notes of colour are floating was amusing. The contrast between the austere bed and the frivolous headboard was intriguing and fruitful. I have always found colour samples interesting, because they strive to systematize something extremely subjective and indefinable such as colour shades, and attempt to provide an exhaustive scheme of all the possible nuances and gradations of something that by its nature avoid definition. The samples making up the headboard are an example – among the infinite possible examples– of the colours of the spectrum. Theyproposea range of possibilities: I did not wish to give priority to any of them. The samples stand as a potential: I made no choice among them. In fact, there is no reason to choose a colour among the many available, since any choice would be subjective and lacking a fundamental reason to exist. Therefore,I excluded none of the "native" colours of the samples: they are all present to attest to the unlimited opening of the kingdom of possibilities. The cause and condition that led to the production of the work were the need to create in the empty space of the bed headboard something that countered the night (represented by the black bed) with the day (the light that makes the colours shine and distinguishes them from the dark). The content of this work is the emancipation of colour samples from the cataloguewhere they were relegated for commercial functions. Moreover, exposing the coloured rectangles to light and air constitutes a real existential rebirth, a new departure from the darkness of the catalogue to which they belonged. In this case, the appearance, texture and colour of the samples are transient, whereas original is their exposure in the context of the bedroom as an exhibition of infinite possibilities. Within my life, this work represents a moment of lightness and serenity, where I wanted to highlight the breadth of possibilities that each moment of life possesses. According to Buddhism, three thousand kingdoms are contained in a single moment of life; every single moment is an infinite treasure of potential that it is up to us to manifest moment after moment. Such immense explosive wealth contained in every moment of life is all included in our body, our mind and our heart. Faced with such a deployment of possibilities, we are the only ones responsible for all our thoughts, words and actions. Such immense variety of possibilities and our absolute responsibility on the one hand constitutes an immense power, on the other it provides a broad and simple view of the functioning of karma. The title suggests that "behind" any appearance something deep and hiddenis concealed. Every phenomenon, in fact, is the result or manifestation of the unfathomable karma linked to that phenomenon. That is to say, everything that happens is the tip of the iceberg of billions of karmic actions – positive or negative – that occurred in the past and are largely unknowable. Each rectangle of coloured alcantaraconstitutes therefore a precious diamond within the universal karmic network.