In art – which is unity between perception and abstracting thought, intelligence already distanced from the moment of elaboration of the sensorial material – there is a constantly discernible effort to pursue a symmetrical vision, and, in works where the simultaneity of perception and abstraction reaches a peak of tension, there is at the same time an effort to transcend symmetry, introducing interferences into the tendency of form, into the achieving of appearance, and to establish an organization – as mechanicalness – around a central axis.
(A. Bonalumi, ‘Geometrism’, in A. Fiz et al. (eds.), Bonalumi, exh. cat., Museo delle Arti di Catanzaro, Catanzaro, 2014, p. 211).