Benini first painted the geometric series in the late 1980's, precisely following a trip to Virginia, and a special meeting with Robert Monroe, at the Monroe Institute in Faber where Monroe invited Benini into his Hemi-sync laboratory and its consciousness enhancements.
He had painted the symbol of the rose for more than 20 years. After this visit and his exhibition at the University of Nevada in Reno, upon his return to the studio Benini set aside a painting of a rose he had started and began painting cubes, spheres, and triangles and continued with other geometric shapes like the dodecahedron stellatus, and ribbons, for more than a decade, most of which are in collections here and abroad.
He was seeking dimension in the work with his technique of hand-blending acrylics, and when he set aside the square-cornered canvas for a canvas stretched over aluminum- he shaped the canvas to the contour of the composition, and projected it a few inches from the wall. The dimensional effect was complete.
