"It is impossible to represent a painting that cannot both represent and be represented, but it is possible to expose it, because this painting is already and inevitably exposed by, and cannot esca...
"It is impossible to represent a painting that cannot both represent and be represented, but it is possible to expose it, because this painting is already and inevitably exposed by, and cannot escape from, its task to tend to depiction. Depiction makes the artist able to render a text which texture is not the record of reality (mere transcription). Only in this way the artist of this texture will be able to enter writing, a writing doubled and demultiplied; a writing against the assaults of gagging, against the provisions, against the prescribed texts, against the words and the images fixed and mixed.
Painting becomes writing -- performed by orchestration, in the instrumental alternation -- to be still and to listen to, otography and vision, description and rewriting. Painting very soon conducts its support, thanks to incisive, or rough, dissonances, to its downfall; painting creates depiction, a kind of contra-image, of contraidola, a never-ending and undefined protest against the rules of representation" (L.P., Contraidola, 2004)
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