TRAPPOLA: Plotone di Pelle TRAPPOLA, primitive, archetypal, partially Baroque, is the fourth, and perhaps the most dynamic piece executed during the Spring of 1993 in Italy. It derives its main impact through being tilted and truncated with objects that seek their own specific gravity. Unlike the Aratro with its interwebbing of bamboo and wax, in Trappola the wax is draped over the parallel bamboo referencing some primitive manner of drying or cooking above an open flame. It is a little unsettling in both composition and mood: unusual thrust and draped presence. Trappola was featured in the main window for the exhibition in Florence and certainly attracted great interest, especially from the Director of the Uffizi Gallery who was drawn to it on multiple occasions. Trappola would have remained in Italy in her collection if the economics had been better that summer. I wish one of the large pieces could have remained in Italy, but I am fortunate to still have Trappola in my California studio. Trappola means TRAP, and in some ways it is, for I find myself being lured to it, to reach in and stroke the draped slabs, imparting my oils into its surface as though trying to conjure back its malleable life. In this allurement I am never tempted to touch the bamboo frame. You figure it out . . . a triggering of some primitive impulse not yet extinguished?