LIGHTING

In Illumination, painting reaches its highest degree of dematerialization. Figuration recedes and the image is constructed through glazes, transparencies, and layers of color that preserve the trace of the previous strata. Whites, ochres, greens, and earth tones lose density until they acquire an atmospheric quality: light does not seem to rest on the surface, but to form within the painting itself.

The fourth threshold belongs to the World of Emanation, an archetypal realm of unity, origin, and presence.

The large circle organizes the pictorial field around a nucleus of maximum clarity: everything converges toward it and, at the same time, seems to radiate from it. At the margins remain barely recognizable forms, vestiges of a matter that fades without completely disappearing.

The culmination of the journey thus takes place through a pictorial paradox: the more form withdraws, the greater the presence light acquires.

Illumination carries the image to the threshold between appearance and disappearance, turning glaze, matter, and luminosity into an experience of what remains hidden and, finally, is revealed.