The 3D's, or three-dimensional works, were done around the late 40's, when the artist had broken away from his previous figurative experiences. These works were composed of sheets of wood or plastic, often painted, cut out and assembled so as to produce the effect of depth when superimposed. The drawings on glass or transparent plastic from the beginning of the same period may be considered preparatory work for these 3D’s; here Bianco worked within a network of references to the historical avant-garde lesson, particularly in its compositional dynamism which seems to relate them to certain experimentation in constructivism and futurism.

The 3D’s in wood, which also traced their origins to those works on transparent supports, represent a more mature phase in his research, characterized by a departure from figurative references and a more articulate definition of space than in previous works: in the opaque 3D’s, the various surfaces are stratified in such a way that each level acquires meaning only in relation to the others, the overall image, formed by the visual sum of the various superimposed sheets, seems a unitary structure, on the one hand, but tends to propose “an unexplored labyrinth of gestating shapes prompted by the comparison of colours, shapes and lights often unexpected”.

The play of chiaroscuro gives these works the quality of “universe in fieri”, where the sense of movement in particular produces illusions of new shapes and planes which multiply the spatial solutions.

(G. Belli, A. Marchionne, Remo Bianco, ed. Puntoelinea, Milano, 1987)