(Amorous Mysticism)

A luminous circular shape emerges on the golden surface of the work, produced by the encounter between video projection, gilded brass and tempera painting. The elementary geometry of the circle thus acquires an unstable and pulsating quality, determined by the light and the duration of the image. The title explicitly associates the mystical dimension with the love dimension: two experiences united by the idea of relationship and overcoming individual boundaries. Cass thus connects the vocabulary of geometric abstraction with a research on transcendence and spiritual experience.

 (Primal Chaos, Love)

A circular movement of signs and colors emerges from the intense red background of the work, suggesting a form still in the process of being formed. The title juxtaposes two apparently distant concepts – the chaos of origins and love – suggesting the idea of a form that arises from a still unstable condition. Cement, pigment and tempera on linen also combine materials with a very different nature: the physical consistency of cement contrasts with the lightness of the textile support and the chromatic quality of the paint. Geometry therefore does not appear as an immovable structure, but as something that seems to be in the very process of its own formation.

(Sensible Revolution)

The composition is dominated by the elementary figure of the triangle, but its regularity is crossed by a weave of signs that converge and radiate from the center. The geometry therefore appears simultaneously constructed and perturbed. The title, "Sensitive Revolution", sums up this tension: the geometric order is subjected to the action of colour, gesture and matter. In this way Cass conducts the rigid geometric search for Brazilian abstract-concrete and neo-concrete ancestry, towards a dimension in which rationality and intuition, formal construction and sensible experience are no longer opposing terms.

(Milk Offering, Milk Boy)

The work combines painting, sculpture, video and sound in a single device. The projection of a moving body directly relates to the painted surface and the three-dimensional structure that supports it, making the boundary between image and object uncertain. The reference to the "offering" contained in the title also introduces a ritual dimension and a concept belonging to Christianity. In the ancient and medieval Christian tradition, the blood of Christ poured out on the cross is compared to mother's milk: just as a mother nourishes her child, so Christ spiritually nourishes believers through the blood that flowed from the pierced side, in an image that unites the Cross, the Eucharist and Baptism. In Cass's work, the gesture is isolated and transformed through repetition and projection. Real body, luminous image and geometric shape are thus brought together in the same perceptual space. 

(Air Revolution)

In a semicircular shaped form, the work hosts a contrasting dialogue between parallel lines traced by the artist as signs alluding to the perceptible, but not visible, dimension of the air. The geometric rigor of the broken yellow straight line is interspersed, in contrast, with the more supple and organic one of darker shades: like a morning breeze lashed by gusts of wind. Cass's concrete geometry, even in this work, is not rigorous, it always leaves room for the unpredictable, for the discovery of the unknown. 

(Amorous meeting of the circle with the square)

Circle and square belong to the fundamental vocabulary of geometric abstraction, but Cass transforms them here into the protagonists of a "love encounter". The title gives the relationship between forms an affective quality that goes beyond the rigor of traditional geometry. Colour, transparency and projection ensure that the figures overlap and modify each other: the work therefore does not present autonomous and immobile forms, but stages a relationship. It is perhaps one of the clearest examples of Cass's "sensible geometry", in which the language of Brazilian constructive abstract painting is rethought through the body, perception and the experience of encounter.

(American Civilization)

In American Civilization the presence of the body and the gesture introduces a temporal dimension within Cass's formal research. As in his other video performances, the action is concentrated on apparently simple gestures, in which hands and objects take on a central role. The video allows the artist to transfer over time the same problems faced in painting and sculpture: construction and deconstruction, surface and depth, order and transformation. The gesture therefore does not simply illustrate an action, but becomes a tool through which the form is continuously produced and modified.