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Section: IV: LE MORTE STAGIONI
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Sveva described this work as “an image of change”, one in which both the separation of relationships and continental departures are greatly personal decisions despite the input of others. With the immense statues contributing to the sense of the figures being overpowered, the couple on the rifting earth are shadowed by “the clacking outside world” of those who judge or impose expectations upon them that the statues represent. The grand Louise Nevelson-inspired figures seem to represent the enormous task of pursuing only one out of many possible futures, for they stand as barriers, prepared to misguide those within their influence.

Sveva depicts herself marching towards a foetus which symbolizes her own birth, relating that being born “is the first loneliness we are all given to know, for love or no love, who else can be oneself?” The resemblance of this work to Salvador Dali’s Archaeological Reminiscence of Millet’s Angelus is notable, although a direct influence remains unmentioned by Sveva.