Enshrouded entirely in textural “skins” resembling tessellated patterns, wood grains, or shaggy furs, D'Alvia's chameleon-like sculptures complicate preconceived correlations between subject matter, form, and material composition, often placing them in ironic juxtapositions. Chosen mediums like marble and bronze not only situate D’Alvia’s oeuvre within art historical trajectories, notably taking cues from Italian Baroque exuberance and Brancusi-esque essentialism; but the nature of their respective processes – carved versus casted; handmade versus industrial – also play into the multitude of dialogues surrounding visual, tactile, and emblematic associations that D’Alvia activates throughout his sculptures. Often his bird series, like Kiwi for example, reinforce their weighty mass, poking fun at the paradox of being a flightless bird.