Buenos Aires, 1974. In Gilda Picabea’s paintings, the investigations on the limits of the plane constitute the initial confict in the development of the image itself. Large planes of simple geometric shapes or the repetition of a fgure, sometimes in a regular and constant way, are drawn on all the surface of the canvas, thus challenging the limit of the painting space. Sometimes those forms are conceptual representations of, for instance, the number ONE or the words YES and NO, while transforming them into pictorial language, brings them closer to their concerns about the plane and the always present fgure-background duality.
These inquiries about how far the painting continues, towards where it unfolds, also lead the artist to inquire into that dimension where form is born from absence.