DEVELOPMENT OF A PAINTING IN FIFTHEEN LAYERS OF TEXTILE

 

Sometimes it is necessary to escape one’s repetition and try to shatter one’s rhythm by intersecting with the process of someone or something else. What sets the work in motion is when I feel in harmony; when I find similarities and equivalences rather than differences. Starting from contact points, junctures can arise from an adherence with another experience. When my internal system converges with an external system which has similarities with what I do, a short circuit is created and something is activated that becomes a common ground where subjects can recognise each other. The meeting with the textile company Bonotto in 2016 is the tthe things I related to empathetically. I imagined translating the pictorial gesture (spreading oil paint on a canvas) into Bonotto’s practice (of creating fabric with weft and warp) and this is how I translated every single layer of colour on a coloured canvas: from the canvas as the support of the painting, to the canvas itself as the substance-colour.

Just as every single brushstroke of colour consists of numerous gradations, so the fabric I developed with Bonotto is composed of numerous different threads which together create a single colour. From afar they look like large monochrome canvases, but when we get closer we realise that the colour is made up of various nuances. This is an extension of the pictorial gesture, without mediation, without distance, which forces us to a closer and more direct relationship with the colour.



Courtesy Bonotto
Courtesy Fondazione Querini Stampalia