Notations in Black

Notations in Black develops from the attempt to give time a material presence. Each work is constructed through sequences of gestures in black pigmented plaster, applied in a continuous process without interruption or correction. What is made cannot be revised, and remains as part of the surface.

The works are formed through repetition, where each gesture acts as a unit within a larger temporal structure. These units function like intervals, where length, density and pressure establish a rhythm that is not illustrative but structural. Time is not represented but held within the surface as a sequence of differences.

The surface is not composed as an image but built through accumulation. What appears at first as uniform reveals itself gradually through sustained looking, where small variations begin to define relations within the field. The work does not offer immediate clarity but unfolds in duration.

Black is not used as a colour but as a condition that reduces external reference and concentrates attention. It allows perception to slow down and adjust to the internal rhythm of the work. In this way, the viewer does not simply read the surface, but enters into its temporal structure.

What remains is a field in which time is neither described nor symbolised, but made present through material sequence.