In this work the rubber glove, already an archetype of the Pop Art's season, goes back to his primary function as an everyday object traditionally associated with the woman's domestic world, but instead of representing its most discriminatory and reactionary aspect, the rubber glove transforms that world in a post-feminist celebration of gender's diversity and its peculiarity, specifically a celebration of those qualities attributed to women like resolution, self-denial, resilience and, above all, the awareness of their own capability of love: gLOVE, precisely. The bell jar containing the rubber glove does not intend to define a sacred space, rather it defines a context meant to enhance the object's metaphorical value, therefore the value of the role that it embodies.
The artist’s desire is not that of depicting objects and figures pertaining to the female world, but rather to increase the value of gender in its own role. The choice and isolation of specific utensils, traditionally ascribed to women, are placed inside showcases allowing the viewer a private contemplation that bursts in the kind of worship belonging to the sacred relics’ vision. The same devotion returns evident into female shapes sealed inside the glass jars which, like the showcases, preserve the human figure in detaching it from the surrounding physicality in order to lead it to an exalted sublimation.