The Eternal Return

«Light is already an abstraction when it enters a painting. It has no fixed form of its own, yet it can give an image its structure, establish a time of day, suggest what has happened outside the frame, or make a scene feel strangely specific. The exhibition begins from this role of light in image-making and from its long relationship with cinema.

Many of the works seem to capture a moment taken from a longer sequence. Their use of light reinforces this impression: it can suggest an event occurring beyond the edge of the image, or draw attention to something whose significance remains unclear. In this sense, cinema enters the exhibition through framing and the suggestion that what we see is only a fragment.

The materials themselves also matter. Light behaves differently in oil, acrylic, and ink, and each artist finds a different way of building it into the image. Sometimes it seems to come from within the painted scene; elsewhere it is carried by color itself. Silver foil makes this relationship physical, catching the light of the room and changing the visibility of the image as the viewer moves.»