THE STRUGGLE OF JACOB the-struggle-of-jacob | Page 28

An informal image, either natural (such as mineral or vegetable
textures, grass in a landscape, the ripples of a watercourse, the
fluff of poplars in the spring air, dust in a shaft of light, mud),
or artificial (the weave of a fabric or an abstract pictorial
background), is rarely perceived, recognized, or held to be
significant. Yet we are immersed in the undifferentiated visual,
in chaos, in entropy ...
Even informal painting - if it’s considered useful to do so -
can be analyzed in detail and its marks classified as objects.
In my repertoire, for example, there are:
semitransparent overlays
that give depth, just like the “airy” or
“tonal” perspective developed by
Leonardo da Vinci;
splashes,
which spread out in rings and shades,
blending randomly, generating
coagulations, masses, gravitational
nuclei;
dribbles,
which evoke dynamic flows;
material encrustations,
a realistic touch: they are the
impurities inherent in phenomena,
recalling the actuality of the painting
as a physical object, not just as a
representation;