The reference to Piero Manzoni's monochrome canvases is explicit in this series, even didactic, a reverential homage. However, the message, initially more veiled in the first canvas, then explicit and explosive in the second canvas, is instead placed in deliberately dichotomous terms, with a complete stylistic and conceptual twist. Already Settipani's first canvas with drapery made with fabric and plaster takes on softer shapes compared to Manzoni's Achrome. The ripples and wheals disappear to leave the center of the scene to the lissom swaying of the drapery, to evoke, almost peremptorily, the norm of the classical style in sculpture. White is not a non-color, but the color that specifies the indefinite, the absence of precise edges, the search for meaning, the search for the absolute. Spatialism, objectivism here are only a source of inspiration for an artistic gesture that wants to contest them. 'I wanted to free white from the pure abstractionism that has long characterized it in its form of pictorial expression'. Classicism here dialogues, criticizing it, with minimalism and nihilism. The second canvas, where two hands fold the drapery, almost tearing it, plastically expresses the author's desire to distance himself from the abstract canon
