Today, it is easy for an artist to create works without knowing how to paint or sculpt.
We do not condemn this inability (this sort of oblivion of the past and its bringings of knowledge and craft), but in our case, we draw great lessons and inspiration from our knowledge of ancient techniques and their use.

Our favourite, the one we use the most, is triangulation based on Euclidean theorems, also known as compasses. Through simple mathematical principles, and with the use of tools that work almost elementary, we can realise any magnification, tilting, reduction, negative. We are also able to make true-to-scale copies through the use of the Canovian pantograph. We often use clay modelling, plaster casts or silicone rubber.

Our focus on ancient techniques, given the forgetfulness to which they seem to be destined, is not only dutiful, but represents the right conjunction of opposites that finds, in curiosity and passion for the new, the opposite and coinciding polarity.
As we have said elsewhere: You cannot be truly contemporary if you are afraid of tradition. We love tradition with the same impetus with which we indulge in the search for the new, the unexplored through the use of technical and scientific processes, even those hardly ever used in art.

We also use electrochemical processes in general, including in particular electroplating and electroforming, as well as 3D printing. We also create sculptural forms through processes that melt metals by means of electricity or magnetic fields.

This is, of course, just a range of the possibilities offered by new technologies, and it is our intention to continue along this path, giving free rein to our creative exercise. To this end, we do a lot of experimentation in the field, searching for alternative ways, different tools and techniques to give substance to our ideas (even the strangest), because in art, the poetic and the unknown often end up meeting and feeding off each other.