Billoni feels the need of nourishing his artistic experience with a deep knowledge of the inheritance of the past. On this way he espresses present-day existential problems with traditional means and quotations, which he takes, models and contextualises showing an extraordinary inventiveness.
He thus contributes to limit ironically the easy optimism of any movement forgetting the values of tradition. Such an attitude is a vigorous opposition to the taste of the "new for the new's sake", to snobism and dilettantism, to iconoclastic fury.
The apparent juxtaposition or diversity of cultures finds a solemn composition of form and content in Billoni's works, which look as a micropaedia of symbols, myths and legends that he indifferently takes from Eastern thought, from Northern or Mediterranean countries. His artistic universe is peopled by tantric mandalas, Aztec cosmograms, Buddhist wheels of life, tarocs with their symbolic and divining values, cosmogonic myths, which are all archetypes of the mankind's collective unconscious. It is really astonishing to notice the refinement, taste, technical skill and preciosity in composition and chromatism that Billoni uses to express his unique and multifarious vision of the universe. The variety of his techniques, ranging from etching to oils, from water-color to tempera and so on, makes of him a complete artist, and one who, well defended from the temptations and deviations of fashionable currents, is able to attain sublime heights in a courageous, meditative isolation.