Renate Wiehager provides us with the essential pointer regarding the working method of Luca Trevisani by bringing Le Corbusier into play, whose amorphous architectures had been inspired by artefacts found at the boundary between nature and culture. However, Luca Trevisani’s associatively gathered world of forms draws from broader, multi-medial, completely contemporary sources: graphic and product design, cultivation processes, scientific maps, literature, arts and crafts techniques, art history, materials and elements of nature, photographs and materials of the world of fashion. Luca Trevisani subjects this material to a continuous process of reading and re-reading, translation, deconstruction and construction, developing artistic models and objects, which reflect back on their starting material only to perhaps be interpreted again in another direction. Artificially created blue crystals, for instance, resulting from certain chemical reactions, dominate one of the current groups of works. Dried plants, such as corn cobs, partially covered with light reflecting crystals in Yves Klein-blue, turn into haptic and visually attractive, tremendously beautiful, discovered and invented forms from the twilight realm of nature and art. According to Nicolas Bourriaud, this is maintained by a »fluidity of bodies and symbols«, and is thus the result of our »cultural wanderings« and »a mode of resistance against the all too prevalent conformation, and a kind of formal guerrilla«. The beautifully presented volume, designed in accordance with the artist, provides an extensive overview of his work. Luca Trevisani, born 1979 in Verona, now lives in Berlin and Bologna, had recently solo exhibitions at the Museo Marino Marini in Florence, and at the MACRO in Rome.