METAMORPHOSIS

In Metamorphosis, the passage between thresholds reaches the very language of painting. The figuration of Labyrinth withdraws, the outline loses its authority and forms cease to be fixed: color itself begins to construct the pictorial space. Metamorphosis is not represented; it happens within the painting.

The third threshold belongs to the World of Creation, an intuitive and germinal realm, linked to creative power and the possibility of becoming. The image inhabits that state of indeterminacy in which forms lose their boundaries and remain open to other possibilities.

Glazes, transparencies and layers set yellows, blues, violets, earth tones and reds vibrating. Colors interpenetrate and emerge beneath successive layers; they cease to describe in order to acquire presence and depth. The material oscillates between the organic and the atmospheric, the cellular and the cosmic, without fully settling into any single form.

The great circle expands until it concentrates into a small black core. In contrast to the vibration of color, the center introduces a silence: a fertile void that does not allude to absence, but to that which can still come into being.

In The Mystique of Being, Metamorphosis situates creation between appearance and dissolution, permanence and change. Color, matter, vibration and emptiness become the place where transformation takes place.