These fabric patterns integrate the refinement and skill of the artisans that spend many hours sewing the intricate 3D patterns at the Burel factory – in the Portuguese mountains - bringing to light old craft. Playing with human scale (the biggest totem is 2.55 meters in height, the middle is 2.1 meters and the smallest is 450mm respectively) texture and colors, they were conceived to respond to the grandeur of the Local Milan exhibition space - an old Milanese Period Palazzo. With these pieces, the proportions of the totems were strained and exaggerated to create a grotesque effect as if they were giant anthropomorphic toys. Or pieces from "Alice in Wonderland" with the thin stretched ring reminiscent of a ruff collar on the Queen or the very long cylinder that forms the head of the Cossack. The Totems captivate with their personality, forming an emotional connection. They are invitations to interact; seat and play, welcoming games of frill ruffling and patting.

这些面料融合了工匠的精湛技艺和技巧并结合传统工艺，他们在葡萄牙山区的Burel Factory花费了大量时间研究如何缝制错综复杂的3D图案。参考人类的高度比例（最大图腾高度为2.55米，中间为2.1米，最小图腾450毫米），这三件作品的纹理和颜色呼应了米兰古老建筑的宏伟感。在这些作品中，图腾的比例压缩和放大，从而产生了怪诞的效果，它们像是巨大的拟人化玩具。或来自“爱丽丝梦游仙境”里的女王所戴的细长颈环，又或者是哥萨克人头部的超长圆柱体。图腾以其独特的外形引申出了情感的纽带。在观赏过程中，观众被邀请跟艺术品互动： 坐下，玩耍，跟艺术品嬉戏。