The concept that guides Spiess, in his creative search and in his work as an artist, is based on principles that, throughout his life, have shaped his conception of the world and his vision of the objects he perceives in it. Principles such as millimetric work, precision, storytelling, recreation of his childhood and, especially, his experience of loneliness, have led him to develop his work with academic rigor and sensitive expression ꟷparticularly, since his switch from the field of Fashion to the one of sculptureꟷ.

For Spiess, the main pourpose in his artistic endeavor is to bring the organic to the mechanical context, through two instances: an artistic process, which involves the purely aesthetic, and a technical one, which refers us to the functional. In the semiotic scheme of the triad “structure – function – utility”, Spiess’ work is homologated as “sculpture – technology – aesthetic pleasure”, allowing him to create and offer to his public objects of art that, looking like toys, they are not: decidedly, they are sculptures and, to that extent, allow their association with the so-called “expanded aesthetics”, from which Spiess manages to create “new” worlds.