Mimmo has been working through interdisciplinary exploration and architectural forms and materials, driven by a longing for "things that are too far to reach and thus cannot be easily possessed" or "things that are too distant to resonate with us, and therefore must come to touch us." For instance, it notes that tools such as firearms or sacred objects have long been used as instruments of longing to reach specific, hard-to-access targets. Through the sculptural combination of these elements, Mimmo enables things that are far apart to finally meet. Wars still raging in distant lands are perceived by those of us in peace merely as the suffering of others, failing to truly resonate with us. Icons of popular culture with religious undertones continue to deliver messages of protecting something as increasingly empowered subjects, yet they remain distant, gazing at us from afar without offering protection. Here, firearms become a physical medium capable of reaching distant targets or touching us directly. Viewers engaging with Mimmo’s work sometimes become the target (subject), and at other times the shooter (speaker), actively yet silently exchanging messages with the objects. Thus, the work explores how to present, within a single piece, why the world is so violent and painful, yet simultaneously so beautiful. Furthermore, recognizing that "shooting" through firearms and "praying" through sacred objects both carry a certain aspirational quality, Mimmo incorporates ritualistic forms to achieve this. The forms and iconography that emerge from the rituals of these two acts are reflected in the work.