Void Painting : from 1< 250'000,
2006 - 2007
Void Painting de 1 a 250.000is an independent publication limited to 500 copies of an artist-book. The book contains a monumental painting in its real size. Working as a mechanism to re-organise space, the book proposes a new reading of the painting.
The design of the book offers the option to rebuild the painting, displaying the sheets without sacrificing the monumental size. The owner of a book, having the option to create a new context for it, becomes a co-author. The work brings a specific perspective, expanding the intr
The book contains, in its 712 pages and 350 color plates, the complete space of the pinsic limits of a large format work and proposing an option to develop ephemeral events that questions the exhibition space. This book is one of the vital organs of the project, it reveals itself as an autonomous object.
It doesn't suppress or replace the essence of the unique object (the painting) but questions and critiques the visibility of the painting, the space of the museum, the art market, the transport of a monumental work and its autonomy.
Initially I realized an oil painting of a large format, from a photographic image, during a year of transposing all the pixels of a miniature digital image (jpeg format) on to a canvas (Void, 480 x 800 cm). The title: Void Painting: from 1 to 250'000 suggests the scale's brutal rupture.
Because of practical reasons, during the production of this painting in the studio, there was not enough space to see the painting in its entirety. It wasn't until after, through mounting the exhibition, that I could see the entire work. One could say the painting was painted by feeling the way, and in turn expands the perceptive experience to the viewer amplifying the pictorial process of representation, and opening the possibility of a language based in "small differences".
ainting in its real size. The pages are appropriately indicated and pre-cut in order to detach the sheets and rebuild the image easily. This allows the transformation of the book into a billboard re-composing the entire painting.
As part of the show, the artist-book will be discretely lying on a shelf in the space of the museum, carefully respecting the criteria of physical distance to the painting. The museum guaranties a natural insertion and secures an appropriate audience, and so distributing the book (50%) freely during the show is my idea. Through its autonomous nature, the book allows to realize ephemeral events inside art spaces (25%) and other places that could become appropriate in the dialogue of the work to certain public spaces within a city (25%). Once in the hands of an owner, it is he who will decide how and where to enlighten it, and so incorporating himself in the works destiny.