These paintings (2010-2012) are made with acrylic paint on a transparent acrylic membrane. It’s a similar material to the one used in children’s beach buoys. This film is placed streched verticaly between the painting observer and the thing-model. Painting from details to background, the image is made. During the process, the author can only see the painting if he goes to the other side of the membrane, the side that faces the thing-model, because that is the side to be seen in the end by the spectadors. So for most of the process he is only seeing the painting’s back.

This, on the one hand, makes it necessary to choose and strictly maintain several of the painting’s factors, like the viewing point (so that this process of “inverted painting” doesn’t become inconsequent blindness). On the other hand, it sets the author free from his own constant aesthetic judgments about his own work. For most of the time, the painting observer most only “copy” to the film what he sees through the very film. Working with just one eye opened, this is a version of the Renaissance’s Perspectograph.