In 1968 […] he was making little sculptures that were scraps of paper, discoloured, cut or torn and pasted, sometimes folded into steps. He had three that were no more than three or four centimetres long at most. He said that he wanted to make a poor, ephemeral art, because poverty was what he had learned in real life. And weakness. These little statues were monuments of paper, weak, to the great men. Bronze and stone are inhuman materials that demand effort and money, and crush you. A monument of paper can be set at the edge of the grass in a park. It is better that the rain or the wind should carry it away. It is more human.---He wanted be useful. He wanted to make little drawn statues of paper, so that people could cut them out. He also drew clothes for cutting out, little suits, so that people could put them on and take them off. He said that he was interested in weakness. That he felt that an industrial art, such as film, is strong, and that, in contrast, pure art can only be the personal experiment, weak. […] He was very interested in relics, in desiccating things, as a kind of denial of sensibility and qualities. Being desiccated indicates that a thing is no longer of any use. It runs counter to the desire to possess. When this is done with a bubble [of soap], which is already ephemeral by definition, the desiccated is very disturbing to the man who expects the things he possesses to be solid. […] From time to time he puts a work in a public place. Nobody notices. Alexandre Cirici, 1970