METAMORPHOSIS

In Metamorphosis, the passage between thresholds reaches the very language of painting. The figuration of Labyrinth recedes, the contour loses its authority, and forms cease to settle: color begins to construct pictorial space on its own. Metamorphosis is not depicted; it takes place in the painting.

The third threshold belongs to the World of Creation, an intuitive, nascent realm connected to creative power and the possibility of becoming. The image inhabits this state of indeterminacy, where forms lose their boundaries and remain open to other possibilities.

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

The great circle expands until it gathers into a small black core. Against the vibration of color, the center introduces a silence: a fertile void that does not suggest absence, but rather what may yet come into being.

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