About

Experimental music plays with space and time. As soon as it is written, it shatters our reference points: lines are juxtaposed or intersect; colours, signs of multidirectional layers of sound, are superimposed on the notes; the score is already vibrating. The painting, on the other hand, seems to let us hear nothing. Yet colours emanate the same vibratory potential. What if painting were an instrument, and colours sounds?

The space in the Julie Caredda gallery remains white and raw. It is the starting point for this site-specific proposition. Three sculptures in PMMA, waves frozen in their …