In this work, the green is not applied, it is the chemistry of a long arrangement between metals and air, the same green that builds, year by year, on the dome of a church. The remaining reds are not residue. They are tension.
The work that closes Lavra. Monte Verde takes its color from the longest exposure in the series, the copper carried past green toward the register of weathered bronze. Mario lets the metals and the air settle their long agreement, then stops. What reads as calm is held in place by the reds beneath it.
Time is the last material to enter the work. Without it, nothing exists.