They both activate and disrupt the landscape. Air and water pass through them freely. Openness is crucial to the artist's conception. His sculptures breathe and grow , multiplying over time as each year he covers larger areas with floating islests and skeletal abstract trees. Giant spores drift down the Adda or lie deposited in the nearby woods.
Nests woven from gathered twigs suddenly appear in boughs of trees.
Mauri began his work at Lodi in 1981 with a series of Aquatic Codes made out of locust sticks. La Scala del Paradiso followed the Codes in 1982, and in 1983 he began building his Altari Vegetali , as well as Spore Vegetali in which the intertwining of branches was now used to create closed yet porous spheres. They also make visible the way nature itself is woven together. Take La Scala del Paradiso . Nature is the artist.