The view that a work encapsulates the right of its own existence, in colours and forms, that the principles of colours are objectively perceptible and that they can lead to a high level of order and truth¹, has been the reason for exploring these mechanisms as well as for choosing painting as a decision-making process. In this context, (inevitably) a tendency for transitivity² is created, a situation in which a painting enters a network that is either defined historically, economically or institutionally, or it is defined by facing questions of matter and aesthetics.

The preparation of the work, in terms of the method, is in parallel with the poetics of surrealism, the beginning of the painting process without prefabricated thought, the equivalent of the hasard objectif. The impression and reactions that the result of the gesture and the colour spots cause, determine the course of the procedure as they are becoming objects of processing. The unpredictable, which acts both as an incentive and as a prerequisite, leads to the materialization of the project. Plenty of potential and options through a process of trial and error.

An ex post intervention, through a process of reconstruction and light-shadow variations, the presence of the material competes with a kind of illusion, depth as a product of naturalistic illusion. From undefined visual ideas, to something specific. Infusing, reshaping the structure of the painting surface, in contrast with the representation process. The whole that results from the interaction of the different painting processes is re-identified as a surface on which the thoughts are emerging and reflected as well as the conventions between the feasible and the necessary.

1. Itten, J. 1(998). The Art of Color: The Subjective Experience and Objective Rationale of Color. New York: Wiley
2. Joselit, D. (2009). Painting Beside Itself. Oktober 130. p. 125-134