Two things at the same time



At the same time, I conduct works on free canvases of large formats, and on supports of more modest dimensions and stretched on chassis; these two forms are complementary and contribute with their characters to the formation of my work.

The former favour larger organizations with increased spacing between colours, while in stretched canvases, where the support of boundaries is accentuated, the tightening of forms leads to greater effects of concentration and saturation. But, in fact, should these two ways of doing things be noticed? Apart from the supports with their dimensions, it seems that it is indeed the same background work that is pursued; nevertheless, I cannot melt them, if only because each one is exercised in separate places and they are substantially opposed.

The paintings on free canvases, undertaken a few years ago, allowed me to make large formats without submitting to the tedious assembly on a chassis, and this enterprise was facilitated by the appropriate dimensions of the room I had made my workshop. I did not place them, any more than today, in the continuity (joined) of the work carried out in the 70s, when painting on an unstretched canvas took almost militant value.

It turned out that this form, preserving the visible characters and effects of the canvas, flexibility, marks of folds, retraction of textiles in the vicinity of colors, gradually took a sufficient place in my work, to be noticed and knowingly distinguished from the tense paintings, in more modest formats.

For the latter, I designed them for a long time so densified extracts of the larger works, now this is no longer the case; I repeat the same figures that I have to adapt to new material and spatial circumstances, with all the questions of adaptation that this raises.

This is by no end, but the need for a different positioning and gestuality that has appeared and to which I submit. How to move and do, as this move goes, one thing with another... Divide one in half.

In the same way, paintings on tight media can find their extensions on free canvases, with all that this entails appearances of unpublished formations.


I am looking for ways of approaches that can open up pictorial practice to new designs and modes of production, not premeditated, but clear in its very exercise and already discover itself effective.

My awareness is after their coming and asks for the necessary adjustment the reconsideration of what preceded.