I tried to post this as a comment follow-up to my previous post but apparently it's too long!
It's funny how we all work so differently... Form is really, really important to me, and it often kicks off an internal dialogue about content - it's pretty much always the way in which I work. I don't know exactly why that should be the case: I suspect other people think that maybe working with the form first is overly restrictive, or reduces the possibilities of content in some way, but for me it is just as important. I always need to have a REASON for something being the shape that it is, and that form is always tied to the content. Both are equally important for me, it's just that I start with one rather than the other.
I have long internal conversations with myself about the 'shape' of things and how to express whatever it is I'm trying to express. With the Art&Lies piece it was to do with tunnelling: how to get the idea of tunnelling through the information into the final piece.
The leparello signifies something about that 'disorder': scattered scrolls, frustration, not being able to find things, disarray... and the thread is knowledge, life, the physical experience of trying to find something in one place rather than another. It is also the metaphorical expression of knowledge: the 'threads of knowledge' that come to us through time, as well as being an indication of how we move from one piece of information to the next (web browsing is a 21st century analogue!), searching or accidentally discovering things.
Now that I've wrestled (!) my way through that thought process (discarding porcelain paper clay, multiple scrolls and various complex unit-origami structures on the way) I can relax back a bit into the Stage Two internal dialogue which is about selecting text and images (or just text) (or something else entirely) to address the questions of content. Then there's a third series of questions going on about techniques, but that's a whole different story!