Costantino sculpted the Beaches while letting his mind drift, talking with others or humming, as if he was repeating a familiar gesture, innate in his being. The beaches are always deserted in the early tiles. We see men in the water, small dots at one with the sea, and outside, the sand, smooth and pristine. It was the sea of his childhood. Nature triumphant. The later Beaches are something else. The sea almost disappears. In the foreground, we see a beach swarming with naked bodies, obsessively covering a nature that no longer exists. Nivola did not hide his painful disillusionment for that lost world, for what he now considered an ex-nature. The bodies on the beach like cars piled up on the streets: that was no longer humanity.