We live in a world inhabited by shapes. When we look, we are used to seeing things, relating what we see to what we know, to what we expect. I think we increasingly need to let our eyes look without giving them things to see, shapes to identify.

Thus, in the rectangle that is the canvas, I tried to avoid as much as possible any individualisable element so that the reading of the painting could be as global as possible, so that communication could happen in the most direct way, so that on the canvas there would only be painting, free from the shackles of any kind of figuration.

The intention is, in a way, for the work to serve as an object of contemplation, that is, to allow the viewer to rest their brain from the overdose of visual information with which it is constantly bombarded, from the moment they wake up until they go to bed, every day of their life. In order to make possible the presence of all the elements that can contribute to a richer visual message, it was felt necessary to bring into the canvas the two directions that give it its shape and limit it – the horizontal and the vertical.

Looking around us, we can easily see how these two directions are present in all of Man's work, as well as in Nature itself. In fact, our entire existence, from the bed on which we came into the world, is so built on these two concepts that we no longer even notice their presence, but rather their absence or alteration. The Tower of Pisa would never have been so famous if fate had not led it to gradually move away from the direction taken by the plumb line that guided its construction... In truth, if towers in Pisa or anywhere else on the planet are built vertically and not according to the whims or aesthetic criteria of the builder, it is because of respect for the laws of physics to which architects and engineers of all times have had to submit. For reasons of the same order, today's bricks are identical in shape to those used thousands of years ago in Egypt or Mesopotamia.

Because these laws govern the planet (or the universe?), the pendulum's sphere only finds rest when the string to which it is attached takes the same direction as the trunks of trees growing on the steepest slopes... Because everything is subject to them, even though the table where I write is slanted, the surface of the coffee inside the cup is as horizontal as that of the calmest lake on the greenest mountain.

These two directions appear on the canvas with the division of the rectangular surface by lines inherent to its own structure; these lines, however, do not appear explicitly, but only as boundaries between different treatments of the surface in terms of texture, colour or light.

To avoid any imbalance that could generate tension between the elements present, the rectangles resulting from this division will always be symmetrical in relation to the median of the longer side of the canvas, this option being the guiding thread of this ‘aesthetic research project’.