Already at the beginning of the seventies Nivola developed what he called an appetite for marble and bronze: the desire to use the noble materials of sculpture to approach "pure" art, independent of architecture. “For some time now, a simple, essential force has been increasingly defined in my sculpture. Here spirit and senses collaborate in the commitment to give shape and meaning to the material. There is a feminine form as a result, but not necessarily as a starting point. The pot-bellied wall of the rustic house, in my magical childhood age, always hid a treasure: the flat and thin bread that swells in the heat of the oven, a promise to satisfy the usual hunger. Likewise, the pregnant woman hides the secret of a wonderful child in her womb. " Thus Nivola explains the meaning of the great Mothers - icons of his late maturity.