This intimate grattage on board presents a field of agitated green lines rising vertically against a deep, near-black ground, the surface animated by a dense tangle of scraped and dragged pigment that evokes marsh grasses, root systems, or the fine tracery of nerve endings. Deluigi worked the paint with a tool drawn repeatedly across the wet surface, pulling and fracturing the medium into filaments of olive, moss, and yellow-green that catch light along their raised edges. The composition divides loosely into two zones, the left more sparse and austere, the right increasingly dense and overlapping, yet both share the same restless energy and the same sense of organic growth arrested mid-motion. At a scale of just twenty-two by fifteen-and-a-half centimeters, the work demands close looking, rewarding the viewer with a richness of texture and incident that belies its modest dimensions. Deluigi was a central figure within the Venetian avant-garde of the postwar decades, closely associated with the Spazialismo movement and with the circle around Peggy Guggenheim, whose Palazzo Venier dei Leoni provided a meeting ground for Italian and international modernists. His grattage practice, developed from the 1950s onward, drew on Surrealist automatism while moving toward something more disciplined and meditative, a sustained investigation into the expressive potential of the scraped surface. Where earlier practitioners of grattage, such as Max Ernst, used the technique to liberate accidental imagery, Deluigi refined it into a personal grammar, one in which the hand's gesture and the material's resistance produced a kind of visual writing that hovered between abstraction and natural form. Works of this type, small in scale but extraordinarily concentrated in their handling, represent the core of Deluigi's contribution to Italian abstraction and remain among the most sought-after examples of his output. The dark ground here functions not as emptiness but as depth, a space into which the green filaments seem simultaneously to grow and to dissolve. The piece carries the quiet intensity characteristic of Deluigi's finest work, making it well suited to a collection attentive to the intimate, process-driven strand of European modernism that flourished in the two decades following the Second World War.