Giovanni Campus’s 1993 work, *Forma, Articolazione interna/esterna*, immediately captivates with its intricate surface and dynamic composition. Executed in acrylic and paper collage with staples on board, the piece presents a rich, dark teal ground, meticulously constructed from fragmented paper planes. These irregular shapes interlock, creating a subtle, mosaic-like topography that hints at underlying structure. Dark, thin, wire-like staples punctuate and trace the contours of these planes, acting as both fasteners and expressive linear elements. These metallic lines form an abstract drawing in themselves, weaving across the surface and defining new spatial relationships. Cutting through this complex network are several bold, rectilinear strips of vivid red, their sharp edges providing a striking contrast to the muted green and dark lines. The interplay of these distinct elements, planar collage, linear staples, and vibrant color, establishes a compelling visual dialogue, inviting close inspection of its layered construction. The title, *Forma, Articolazione interna/esterna*, offers a direct key to understanding Campus's intentions, emphasizing the work’s exploration of structure and spatial relationships. The "internal articulation" is manifested in the precise arrangement of the green paper fragments and the dark staple lines, which simultaneously define and fragment the surface. These elements create a sense of contained energy, where each piece contributes to a larger, cohesive form while retaining its individual identity. Conversely, the "external articulation" is perhaps suggested by the assertive red bands, which confidently traverse the established grid, asserting an independent presence and drawing the eye across the composition. These red interventions introduce a powerful sense of directionality and movement, creating a tension between the work’s inherent order and its moments of vibrant disruption. Campus masterfully navigates the boundary between two-dimensional surface and sculptural relief, transforming humble materials into a sophisticated meditation on form, space, and perception. This piece stands as a testament to his rigorous geometric abstraction, offering collectors a compelling example of his unique formal language.