Wheels are the first nature figure to appear in Cavenago's work; they are simple cylinders, minimal and stylised elements. A sign par excellence of displacement, they are also a translational image of all forms of communication. At first they are applied to squared containers that instantly become vehicles; then they create the cue to construct objects similar to trucks, motorbikes, sometimes expanded to occupy large spaces, other times compressed to the extreme, always however synthetic and simplified in form; in other works the wheels even appear alone, in two pairs connected only by a central joint that allows mobility in every direction, or reduced in size to the point of becoming the motor of improbable skates.

Their significance lies in indicating any possibility of movement: forwards or backwards, up and down on the verticals, towards an impassable diagonal; which makes it all the more significant that in the latest works, this extreme freedom of movement is gradually denied and resolved in terms of tension.

In all Cavenago's work, simulation is of fundamental importance, understood at every level, even when it means pretending to produce industrial objects in which executive perfection is a guarantee of functionality.

Angela Vettese, 1991