Corrado Corradi had fun designing chintz with Luchino Visconti and he liked ceramic. He created pink, black and yellow painted pumpkins with the same pleasure for colour and matter as Fausto Melotti and Lucio Fontana. With ceramic he designed plastic vases, as paunchy and inviting as Henry Moore’s sculptures, or cobalt blue baskets looking like crowns or merlons of a castle. They were objects always restrained by a flawless grace, such us a tiny perfect vase with a thin stretching stem: no matter if it has a function or not, you’d be watching it for ages. He also created platinized ceramics that grew to peek further and further away, in an experimental exercise that made his design practice happier and deeper. He was capable of an elasticity that didn’t clash with accuracy, and he knew how to create a pure form with no apparent effort.