Although the first cycle of Billoni's activity starts from nature and the human figure, it interprets with a dry sign saying the symbolic universe man is plunged in.
The references to landscape and the individual are not linked to a narration of events, but to a repertory of forms: through them the artist reflects about the system of correspondences between the being and the cosmos, where life and death come together.
In the eighties, the difficulties of orientation in the present lead the artist to an articulated making-up of his paintings, whose images are structured as correspondences between up and down, man and the sky, the earth and the air, with symbolic, conceptual references to a secret homology between the microcosmos of his creative work and the superior harmonies of the macrocosmos.
In 1991 he begins the cycle of the Cosmic Wheels. These are a complex alchemic figuration absorbing in rotating disks a system of archetypes that generate from the tensions of his imaginary and psychic introspection, rather than from sterile esoterical repertories.
During the nineties he crystallises his figurations more and more as geometric fields and tridimensional elements, with the intention of going beyond form, thus attaining a clarification of the symbolic universe of his painting. For these reasons, if we situate Billoni's works in a surrealistic, metaphysical direction we still won't exhaust the complexity of his symbolic, transfigurating imagery.