The absence, the reflection, the transparency, the waiting represent the conceptual foundations on which De Marchi builds his current works. This 'building' actually takes place through subtractive processes concerning the material used, be it steel, plexiglass, polyethylene, marble. What the artist works is a perforation, or rather a crossing of the material entity, aimed at creating a 'musical' alternation of full and empty spaces. The sequences of small and large holes, initially linked to a reflection on the work of Lucio Fontana, constitute not only the visual alphabet of De Marchi, but also and above all a reference to the very idea of writing, the human trace where thought it finds its shape and projects itself through time. The same thematic implication is contained in his first expressive tests, characterized by a magmatic material in which the method of dripping becomes the tool to create a written painting. The symbolic component of which these works are depositories does not survive in the subsequent landing stages of his research, which see the artist enhancing the volumetric values of the work as well as its interaction with space. The placement of mirrored sheets in the interiors of the Palladian Villa Pisani in Bagnolo di Lonigo is in this sense one of the most engaging results captured by De Marchi, which triggering a game of reflections leads to overlapping the image of its perforated textures with those of the visitor and of the frescoed rooms. The work presented here 'lives' on two dialectical contrasts: the practice of excavation and that of relief, the rusty opacity of corten steel and the opposite qualities of stainless steel.