The square support, presented in a diamond orientation, immediately transforms the grammar of space: the four vertices become north, south, east, west of an interior geography. The material — pure cement, raw, without chromatic concession — constructs a stratigraphic landscape in which the upper portion erupts into sharp reliefs, ridges and lacerations evoking rock formations or the bark of an ancient glacier.

Descending toward the centre, the surface spreads into a band of relative stillness: the cement thins, smooths, allows raking light to filter through in near-silver reflections that converse with the shadows cast by neighbouring asperities. It is a zone of transition, a threshold between chaos and order, between depth and silence.

In the lower half, circular marks resurface — buried arches, like impressions of a forgotten script that the material has absorbed without entirely erasing. Deriva Grigia belongs to Bazzoni's reflection on the geological memory of matter: cement does not imitate stone, it becomes it, sedimenting time and gesture into a single plastic body suspended between sculpture and painting.