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  "The Order of the Improbable" is the title of a series of five paintings on paper realized between December 2011 and February 2012. The five paintings are titled: P_1 "O-C # Particles", P_2 "O-C # Levels", P_3 "O-C # Structure", P_4 "O-C # Distribution", and P_5 "O-C # Suspension". The “O-C” is an abbreviation for “Order-Chaos”. "Order-Chaos" was the concept and study necessary for the development and for the realization of this pictorial series. The relationship with time and space is the atmosphere of the paintings. The visual interaction comes from orchestrated signs on the surface of the painting. The signs are the structure of the representation, as well as the elements for a continuous and free reinvention of the reading of the painting. The wave, in this series, is the subject represented as the carrier of the idea. The wave freezes in the “moment”, a moment in its movement, in its becoming a wave, and it transforms into a representation of itself, static, like geological stratification, in various levels. "The rock wave". Blocking the “chaos” of the “splash”. Chaos that is inherent in the structure of the particles moved in the movement of the wave. The disorder is not the absence of any order, but rather a collision of order lacking a mutual relationship. That image becomes “rock-like”, sculpted in the moment of its time, giving order to the reading of that specific moment. To find order in representation. Order (an organized distribution) that is the vehicle of “information”. Introducing order in chaos, that at the same time is also a carrier of “information”. From this comes the simultaneous representation of order and chaos.  




Studio n° 22 for "The Order of the Improbable"

  Representation of the opposite is part of the subject of these five paintings. The wave is an element that tends to progress, growing towards an aim. Here, the aim is “self-reference” of art, of painting, of its capacity to speak and refer to itself, utilizing its representation to elevate to another concept, idea, and meaning. One subject that is chaotic in its structure (the wave), becomes represented here, through the temporal suspension of art, with a static structure; readable and organized, gives representation of the wave in only one instant that is the static subject of the canvas. The instant of the pictorial representation. A subject that originally has a structure strongly improbable in the reading, therefore strongly entropic, becomes its opposite, organized in the representation. Through pictorial representation it becomes readable, with a static structure that is studiable and visible. In the five paintings, graphic elements like numerous lines drawn and scratched in the surface, pictorial signs, and chromatic masses, are the alphabet of the story.   



  Painting made of elements and structures. Signs. Painting of structure. Visual elements to enter inside the line to look for its atmosphere. Representation that pushes towards “the unseen”, but becomes a “thought” through the view. Here is the real poetry; the melting of a concrete presence into an abstract thought. The metaphysical of the surface of the representation. Time passes without its own velocity and its measurement in the middle between the “time-space” and the “angelic world”, of the threshold of this world, is the maximum of illusion and seduction, and announces the mystery of art, where art is at the art, in an auto-referential dialogue with itself. Subject strongly entropic represented with content of minor entropy, juxtaposition, representation of the opposte, abstraction, order-chaos, theory of information, entropy and poetry. The wave is a starting subject to grow towards an idea of pictorial representation that removes the weight of the subject and flies away toward itself; mental, emotive, and free. The structure that is manifested in front of the eyes makes up the real meaning of the painting.  

(Text composed from brief extractions of various notes-thoughts during “The Order of the Improbable” series and over the years)







The paintings are a result of a long technical process characterized by contrasts. Contrast between the gesture of action that imprints the base of the subject and the slow weaving of innumerable lines traced to create the structure. A technique was created specifically for this series of paintings. Long periods of exposure to strong homogenous heat and quick flames to absorb the layers of wax into the material, in an encausto. Strong bursts of air to distribute the powder into the liquid material that becomes solid, rock-like. Fine lines that cross with scratches and indentations in the material. Powders and liquids, present defined materials, and impalpable foggy layers.



[Click thumbnails to view]



100 cm x 80 cm
( 39 1/2 x 31 1/2 inches )




















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