Hide everything n. 22 Painting

This is as simple as a painting. An abstract painting I suppose, but it's really kind of a contradiction that you can look at all day. Shift gears without batting an eye. the elegance of this original thin line and that way of delineating the instinctive and furious thought and giving it up. That is the form that is dueling with the concept, holding up to the image. conventional painting in a sense, and then what's going to happen is what's going to be in his studio. The idea of ​​painting pictorial, or going back to painting, comes back in this way. In a way, all of this has no weight and is all about weight. It's all about the possibilities, giving you an idea of ​​what the possibilities are, it's the way he lives! the color changes in these paintings are simply strong and light, sometimes complementary and contrasting most of the time. But it is and perhaps it was when it started, painted with a series of blocks. Have been prepared and then he kept doing things you know are almost inexplicable, the ocher stain on the blue. But it's the fact that it can have that kind of detail. That kind of twist or twist that he gives it with leftovers and dough and things is something that, in a way, is that the great thing about these paintings is that they are hard to see in a lot of things that happen, see the arc of abstraction fade and rise. It's hard to imagine why you'd like to paint so much. Somehow doing it this way is being inside that could find painting so satisfying. Eugene Willer lives and works in Naples, Italy.