MOVING THE GESTURE IN THE SPACE WITH TIME
Numerous circles full of colour represent the image of my ‘Bowl’. Here it is no longer unique and alone but instead is multiplied in many separate points. Each round form is determined by the rotational movement of my wrist with the brush in my hand, the same movement I enact when I prepare the colour in the bowl.
In a subversion of temporal order, these ‘Paintings-Bowls’ display the painting substance that has formed in the palette every day over a few months, not in the consequential and linear way as happens in the ‘Diary’, but simultaneously in a portion of space.
There is a relationship between the space of the studio where I perform the painterly gesture every day and these paintings. They have the same proportions. The space of the painting is there just as the floor of the ‘Gestureplace’ is there to accommodate me while I move with the colours in a portion of space.
By remaining in a strip of the canvas it is as though the bowl were moving horizontally on a surface. Instead of regenerating itself, cancelling out the previous colour as in the ‘Bowl’, or superimposing itself in the same place as in the ‘Sedimentations’ and the ‘Infinite Painting’, here it is reproduced on the painterly page, choosing a rhizomic movement.