The work deals with forms, strategies and tactics of ways of displaying itself. Using historical data, I investigate, through extensive research, minimalist tropes with poetic maximalist musings.

Painting is a subgenre of sculpture, rather than a medium of its own. This is because of the rise of digital art. Concept and idea have been the primary source of conception for artists. Representation of such is now at a point where it can be materialized or exist without ever being present in the virtual reality we live in. The painting has been exhibited and placed in the medial spatiality of the cube, only belonging to the wall at eye level. Sculpture, predominantly, whether supported by the pedestal or not, shares ground territory with its users, us, the spectators. Digital photography should only exist in the digital realm as if one chooses to print they must in consideration that their work is now a sculpture, and therefore they become sculptors. Under this logic, painting and any other physical medium must no longer be represented in the algorithmic field but rather to be architecturally experienced.

The work relies on materialist infrastructure, meaning it will render itself from being, the work is not earthly, it is not egoist, it’s not about its own atomical structure. But rather about the existence of the idea materializing into such manifestation, meaning it would not limit material, theoretical and narrative exploration.