When I made the mural, in 1977, I had great trouble at the beginning, primarily in preparing the support and then finding a space where I could lean it during its execution, because you can't paint sixty square metres of surface area without constantly having an eye on the general effect of the composition and the laying of the colours. I had the idea of creating a support broken up into twenty panels measuring one metre wide and two metres high and to hold them together with screws that fastened the whole thing to an enormous trestle made of scaffolding pipes and long wooden planks. Of course this was made possible thanks to a vast space put at my disposal at the former Teatro dell'Arancio. I leant the whole structure against the back wall, building a special moving work platform equipped with a rope and pulley system that enabled me to move upwards, downwards and sideways at will. It was a huge job and took as long as eight months of continuous and careful work. It would have been easy to do away with the whole thing in a few large brush strokes and a few compositional elements, but I like doing my best in everything I do, so I buckled down and made a huge painting using a spatula. It features over sixty characters: women waiting young and old, kids playing, boats, trees and seagulls... The "Corale attesa" (Chorus in Waiting), a painting full of deep meaning which, as I've said, required great effort, but I was repaid with great satisfaction.
(Mario Lupo - "Story of life, story of painting”)