â A lump of color laid out across the surface of the canvas.  A thick material,  with veiled strokes. In it it is revealed,  and waiting, an image. It is a vision.  Is it the image of a citrus plantation? No,  it is  a pond, or maybe a still life... It makes one think of the sea during a storm, but tomorrow, on seeing the same image again , one could make out (remember?) the Alps. This small film of color doesnât diminish the vision of any real fact, but one stops at the threshold of determination, a moment after the indistinct and before a natural, rigid differentiation. In  the definitive, this image is true to the real âpainting being.â Exactly for this reason it alludes to the infinite possibilities of the imaginationâ
Each âtheoretical fieldâ ( in Greek âTheorosâ which more precisely means  âspectatorâ or âhe who glancesâ) is an internal space in which each image announces another, and opens  an uninterrupted flow of possibilities. That which counts is the ability to imagine; to collect, suspending the limitations of the individual, that perennial movement that is no other than Holderlinâs <i>Untergehen</i> whom according to Vigolo suggests the penetration, the dispersion of the image into another, in an infinite transmutation. The athleticism of art (that, as observed by Deleuze and Guattari, is athleticism of affects, before perceptions) is this ability to stretch out beyond the images of which it is composed, to restore the pure rhythm of the image. (2007)
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