Castellani attained his very own treatment of the canvas in the work group "Superficie trapunte" made as of the 1960s. An approach that fundamentally put traditional concepts of image and composition in question and a way that helped him to overcome the image's two-dimensionality. This work is a prime example from this decisive work complex, which would soon make him famous. By means of nails that push against the canvas from the back and lift the canvas, Castellani modulates the monochrome surface and creates rhythmical-serial effects and an interesting play of light and shade. Different from his "ZERO" colleague Günther Uecker the nails appear just indirectly. The visbible material and technical intrusion on the work is reduced to a minimum. By scarcest means Castellani visualizes his the central theme, the relationship of light and space.