3
a matéria da tinta
the substance of the paint
[...] A partir de 1997, tentada a explorar o suporte da tela, de maneira ainda ligada ao desenho, comecei a realizar trabalhos que eram constituídos de linhas sinuosas de tinta a óleo, traçadas com vassoura, em configurações que lembravam os desenhos imediatamente anteriores, deixando aparente o fundo branco da base da tela. Nestes, eu também trabalhava com o suporte estendido no chão, mas sem subir nele, pois eu precisava de ter as telas esticadas no chassis para não perder de vista seus limites. Eu dizia que as linhas, nesses novos trabalhos, passaram a ter a matéria da tinta, pois o suporte da tela, diferente do papel branco, requeria um traço mais forte, mais matérico. [...]
[...] In 1997, tempted to explore the canvas support in a way that was still linked to drawing, I began to create works that were composed of sinuous lines of oil paint drawn with a broom in configurations redolent of the drawings that had immediately preceded them, leaving the white background of the canvas apparent. In these I also spread the support out upon the floor, although I did not stand directly on top of it; I had to have the canvases streched out on frames so as not to lose sight of their boundaries. I used to say that their lines, drawn in oil paint, came to express the very substance of the paint for, unlike white paper, the canvas support damanded a stronger, more material line. [...]