Paintings are objects immersed in time, registering their mutations, in constant relation with their history and the history of their realization. The temporal structure of painting is like an “architecture of time”, where time becomes spatial, as David Joselit argues (2019) and this radically differs from a conventional understanding of linear time, which is fundamental for the construction of sense in texts. In my practice, an instance of this discourse is addressed within a series of canvases that depicts pages, covers, fragments of books. Metonymic and hypertextual images, they mean to acquiesce in the linear time of the written text, where sense is formed through the succession of words and in the spatial time of images, where the subject is accessible simultaneously. The painted pages gather on the indexicality of both paintings and books to bridge two inconsistent notions of time. A paradoxical convergence of mediums, that requires flutter between perspectives to be fathomed.

Through reconfiguring the gallery space into a hypothetical library - an assemblage constituted by piles of paintings on wooden stands, sporadically distributed books, iphone-screen size photos and handwritten texts on the walls, as well as the constant intra-actions and meaning production of human subjects - the exhibition explores the relational network within itself. In encouraging the viewers to physically perform intimate actions such as to touch, move, turn over, and maybe to hang the paintings, the network reshapes itself dynamically dedicating the improvised poetics of displacement to the construction of knowledge, inter-references and significance.