Painting as a vision intends a dematerialization of painting itself by an intentional setback of perception that problematizes the experience of seeing. What painting sees, as much as what it allows to be seen, comprises the minimum unit of the image as its maximum consequence.
On one side, the stain as a floating signifier, the cut of colour with its chromatic texture, the extreme tension between order and chaos, the corrosion and misunderstandings in Art History, and on the other, the very limit consequence induced by figuration, the maximalism of the sequence of shots, the cinema screen as a screen of life. But the vision is always above the eye, fencing the eye in and resignifying it, vision is informal and not conceptual.
This painting, halfway between the outburst and the drawing, is defrosted to propose a visual and thermal shock, a biological notice that is equal to its aura and function. Therefore, the vision statement, in one of its assertions, does not admit ambiguities: Let contemporary painting return to painting and becomes vertigo within its limits.