In 1968, as he starts tackling volume, Distéfano is regarded as a sculptor. And he is one from the moment that he conceives his works spatially on paper, models them on clay and casts them in reinforced polyester. But some of his gestures seem to indicate that he does not want to stray too far from painting. Colour, which he first applies on surfaces – from The Bath onwards he integrates it into his materials – and which at times he employs as an independent feature of the forms it modifies, has great importance and is treated with pictorial techniques: transparency, modulation, overlapping and subtraction. Nor does he hesitate to incorporate collage, charging the surface with meaning. Several of his works make reference to pictorial genres and individual works: Vase Broken in 1890 and The Insatiable One are good examples of still lives, Di doman no c'é certezza and Simultaneously, of landscapes. Perhaps his greatest achievement is the synthesis of both disciplines, in the service of contents that invariably draw us in through their narrative and their emotional impact.