Three years later he finished his first great pieces in metal, which were to be installed in the open spaces in public squares, to stimulate communication between common people. These sculptures took on the identity of a provocative social gesture reflecting the artist’s participation in the students’ and workers’ protests of ’68; indeed these “big bits of metal” –modelled in the furnaces, workshops and foundries with the workers– seem to alter the space around them in a loud cry of protest. These are pieces which draw attention to the sculptor’s art, now turned to examine the physical nature of materials in order to create volumes which occupy space with a certain pregnant air. Noteworthy are his shows at the 1972 36th Venice International Biennale with the piece entitled The Game, the personal shows at the m Gallery in Bochum (Germany , 1974) and at the Carlo Grossetti Studio in Milan (1978).
Once again in Milan, from 1982 Spagnulo, who had always been fascinated by craftsmen’s techniques, went back to his initial interest in ceramics, using an enormous potter’s wheel to create his great Turris, later forged in steel. These are also years in which the artist had innumerable shows, both in Italy and Germany: the years of the shows at the Isola gallery in Roma, at the Galleria Civica in Modena and at the Kunsthalle in Dusseldorf (1984); at the Hans Barlach gallery in Cologne (1986); and at the GAM in Bologna" (1989).(galleriailponte.com)