"Temple I" and "Temple II" aresignificant for an important period of my painting, namely a sort oftransition from oil to watercolor. By this I mean a progressivewithdrawal of the artist's body from his work, and not necessarily apreference for watercolor in the detriment of oils. The watercolormarks elude the gestural mark, while the monochrome geometric shapesstrengthen the horizontal and perpendicular lines, that seem to bethe object of an endless change.

I saw an overriding of tacit agreements between full and empty,between volume and line, between color and non-color.

A transformation of opposing materiality that is about tomerge...ma non troppo