To this end, we use the same pictorial material, the same colours, but we arrange them differently on the surface of our inverted support. Thus, we can play on the internal structure of the human body, on the relationship between the background and the figure, on the geometry of the support’s configuration, on the complementarity of colours, on the relationship between opaque and transparent, solid and liquid, etc.
The abstract counterpart therefore does not imitate, but highlights the support and the material. Placed in front of the original support, it defines its “realistic” counterpart as well as its own existence. Our abstract painting does not only show its abstraction, it refers to something else, but it does not show realistic motifs.
Our two paintings show a painting in which the two pieces pass the quid to each other: one which by the appearance of the effigy makes us forget its nature and material organisation, the other which by its material reality and its confrontation with the first reminds us of it.
Faced with such a painting, we are confronted with the initial idea, which was to show the image and the material, simultaneously.