These paintings all begin with a surface intended to cover a large portion of one of the exhibition walls. This initial support (here, wood) is cut into X irregular pieces (here, 24), following the model of jigsaw puzzles that most often depict landscapes, animals, or famous paintings. Several modes of installation are possible. The elements may be distributed alternately across two facing walls, each forming a positive/negative arrangement. One series of elements on a wall indicates the boundaries and general shape of the room, while the remaining pieces are dispersed throughout the space.
As with all the definitions/methods conceived since 1973:
The pieces are painted the same color as the wall on which they are hung. If the wall is left raw, the support will remain raw as well.
When moved to a different location, this painting may take on an entirely different form: different dimensions, a different cut, a different color, a different installation, a different support.
Nothing remains fixed from one place to another, even though everything is decided in advance.
A painting that does not suffer the ravages of time.
A coat of paint, a touch of youth. A painting with a limited duration—and that, forever.
Claude Rutault.
