For her second personal exhibition at the gallery, Marieta Chirulescu is showing new works which have just come out of her studio at the Accademia Tedesca in Rome. The works are hung with precision, creating a rhythmic play of the space with the same intensity as her canvasses. The visitor is welcomed to the first floor by an alcove left empty, without any work. Just a void.

Continuing a project begun several years ago, Chirulescu works on patterns from drawings or scattered notes that are enlarged, twisted, scanned and then printed onto cotton canvas stretched in frames. Acting in this way, the artist imparts a new dimension to deletions, erasures, all these detours that the hand makes mechanically on a sheet of paper. She converts them from anecdotal traces to the main themes of her paintings. By abandoning a degree of intimacy inherent in drawing, Chirulescu gives a new status to these remnants as if it they formed a mysterious alphabet, a secret vocabulary. She works on a very pictorial level (since it questions the line, colour, background and foreground, ...) while exploiting digital possibilities provided by image editing software. Certain effects are perhaps unintended, but are incorporated as a painter would do while working. Each work deserves close scrutiny; where the eye thinks it sees the weave of a canvas, this is actually printed; where the eye is convinced that it seeing a brush-stroke, it has been deceived and it is actually looking at a motif from an older work, hijacked and re-used.

These works are incredibly misleading, but they are about painting. In a paradoxical way, they combine gestuality and minimalism, lyricism and suspended gesture. The artist incorporates the arbitrary and random interactions which fill a constantly changing digital field.