On white experiments with the relationship between the paint and its support. Rather than seeing the support as a necessary element for the paint, it evidences the possibility of the paint to become a separate and autonomous entity. On white is a series of thin and delicate veneers made out of several layers of paint without structure: no canvas, no wall, no surface. They are meant to hang close to the wall but without any contact to it, as it aims to evidence how the support becomes unnecessary. These piece makes visible the process of emancipation of the paint and instaurates its possibility to adopt infinite forms far from its regular use.
On White, series
‘…, like A rented apartment. It transforms another person’s property into a space borrowed for a moment by a transient. Renters make comparable changes in an apartment they furnish with their acts and memories; as do speakers, in the language into which they insert both the messages of their native tongue and, through their accent, through their own “turns of phrase,”…’
(Michel De Certeau,1988: xxi)
Exploring the relationship between painting and paint, bidimensionality and three-dimensionality, these series return to the physicality of the coloring material to modify its form: paint becomes sculpture. Through several coats, the paint is separated from the place it belongs to (a wall, a surface, a support) and turns into an autonomous sculptural shape. The chromatic selection is fortuitous as all the paint acquired are the unwanted colours that customers returned to the shop, this way the colour is used as a found object adding to the piece its own particular story. These pieces make visible the transformation of material into form and the way paint can escape its original purpose.