The Italian word "tuta", which in English knows several translations, brings to itself multiple senses: 'Everyone wear tuta' proclaimed Thayhat in 1920, launching the paper pattern of a garment made in one piece, fast and cheap. The suit reminds to sphere of playtime, free time and relaxation experienced both in domestic spaces and outdoors. At the same time, in its specific manifestation of work overalls, it is one of the symbols of the Fordist production. For Sara Enrico, this ambiguity, or semantic opening, is the starting point of metaphorical reflection, which implies a dress that implies a posture of the body, between the public and the private, between the individual and the community, between the interior and the exterior. The sculptures, which seem to play on the PAV outdoor setting, are made of cement and pigments, the 'matrix' is a rudimentary paper pattern, packed with a technical fabric. The relationship with surfaces and translation processes are recurrent strategies in the artist's work, which, by maintaining a pictorial thought, acts in three-dimensionality and in space. The double value that is typical of the cultural device of the suit wants to reflect the dichotomous aspects of right and duty, pleasure and responsibility, which we should take into account in articulating our body in the open space.