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all this is included in the various evolutions of compositive display among Glasses, Poetry, Sound and Light, the latter being a decisive and all important component for the work of the Venetian artist, unmistakeably characterizing his whole production: each piece, every glassy score makes the matter sing together woth the light falling and filtering between the various layers; thence comes the sightful and pondered use of particular solutions for the light sources. Consequently each work can be defined and transformed into a range of multiple defraction and refraction possibilities, which amplify the concepts elaborated and desired by the author.
He applies a sort of autobiographical option: recuperating glass and body fragments connecting them to each other, as in "Glass-eyes", "Glas-lips", "Glass-senses", "Glass-implosions"; or applying the connection to fetishes (temporal objects) of his own use: his cigars; or films of past memories evoked in journal form in an even more intimistic way, as in "Microglass-videostation for a walk"; or to a part of "Packing Glass in Glass Boxes"; or to the ready made objects as for "The Glass Traps": where glass and its signs are "trapped" by real steel mouse traps; or to symbol toys reelaborated in glass: "Playing Toys", "On the Wings of the Wind" or even "Playing Animals": a micro happening for a small audience; and also "Poe-snow and Poe-ice", where the phenomenon of transparency, of scripture and of colour drift toward the physical and temporal slopes of nature.
Another of Cadamuro's original expression is represented by his unique "Glass-labyrints", where the dynamics of the sharp fragments, fused with the similarly transparent and plastic letters, move within the thick paths between diaphanous walls: they have no entrance and no exit: a set of compressed and vacuum-packed matters where nothing is lost, but everything is frozen in that specific instant of centripetal as well as centrifugal movement at the same time.
Cadamuro often used the film or video camera to extend the expressive notations beyond the object, or including it to such an extent that new enviroments were created, where the film was projected on transparent supports, dragging other real time movements of performers: "Assemblage", "Dangerous Transparencies", "Stale Air", "Bury the Poet" ("Five Hypotheses of Suicide"), etc., or being an integral part of the glass installations.
The carrying axle of his whole production si writing, "the glassy-planning", the connection between the concept-content and the form to develop: a multiple project procedure because the possibilities of intervention and the relationships with the linear poetry, often metaphor of its visual extension are varied.
Continuous interpretations and matter-sign elaborations are for Cadamuro the reinvention of the world and his personal reinterpretation of an already long, well pondered and consistent research path. His research is innovative, the recognition of the "poetic" potentialities of glass, combined with the constructive outburst of a space which never is like itself: on the contrary it is submitted to the deforming force of the illusory capacity, pushed to a sort of "beyondness" (like talking about the tendency towards "beyond"), so that the material primes a dialectics between "appearing" (the first impact with the form) and "being" (the consitutive reality of the work). The plastic stroke of the artist goes along an orbit traced to an autobiographic outline - ntrusted to emblematic letters and everyday objects, the cigars that, beyond their letteral significance, represent the scansion of time during the day - up onto the confrontation with a dense graphism and a telematic imaginary.

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