Giuliani's is a serious, albeit airy monument to reconciliation. The object "kneeling" is translated in the measures, in the form, in the material. The artist proposes a technique, consolidated in many of his works, to give a translucent and sinuous effect to travertine. His art is a material paradox, he wants to transform the opacity of travertine into a shining light thanks to the merciful patience of God. The "disproportions" eminentiate and verticalise the object transforming it into sculpture.
The wavy work symbolizes the daily divine intervention in shaping the way to the sinner, so that he can follow it with a contrite heart and resolute spirit. The clear and subtle matter comments on the divine welcome of the repentant sinner. The element of the kneeler underlines the urgency of prostrating ourselves before the Lord by accusing their faults and invoking divine forgiveness. The sculpture is shrouded in material light, as it celebrates the moment when reconciliation with God occurs, when Mercy meets the miser. The rigorous formal composition is graceful, though it does not betray the sign of repentance. To put the sculpture into context, it is the sanctuary penitentiary, where believers mature the humility to kneel before the Lord and capture the greatness of his forgiveness. Giuliani is not unusual in creating cult "objects" with the intent of commenting through them the logic of incarnation according to a dialectical contest. On the human side, the effort to reduce the gravity of matter to the maximum to make it transparent to light. On the divine side, the commitment to illuminate matter to make it shine with spiritual splendor. The sculptor metaphor represents the sinner in the moment in which he understands the insignificance of departing from God and arranges himself to return. It also indicates the "good shepherd" who always goes in search of the lost sheep to bring it back to the fold. The work of Giuliani is therefore not a functional object, but an invitation to confession.