PERCEPTION./

More often than not, the perceptions are tremendously subtle; the reflection in a graham, the diffused light of a Flavin, the space modified by a simple wool of a Sandback or the moiré effect of a Decrauzat. As Jimena Canales points out in her text on Philippe Decrauzat in the recently published book on the artist: “It takes an art as subtle as Decrauzat’s to direct our attention to the changes that occur in our sensory-motor environment and that go unnoticed”.

We might well add to this comment that, in reality, the impression produced by this subtlety never goes unnoticed. What we perceive, although it may be thought to go unnoticed, leaves its mark, the inner sensation, which transcends “an optical perception that requires “a perfect coincidence between the basic elements of the painting (the color planes) and the architecture (the wall)”; it is, we insist, the inner impression of perception that occupies us in this exhibition.