work
I’m leaving
| category | Digital art |
| subject | Human figure |
| tags | #color, #minimal, #conceptualart, #digitalart |
| base | 80 cm |
| height | 120 cm |
| depth | 0 cm |
| year | 2025 |
The project develops from I’m Leaving, conceived as an initial threshold of distance. In this work the figure is still fully recognisable. The body is defined, the line controlled, and the gaze holds a suspended tension that does not resolve into rupture but remains open.
The subsequent works do not construct a linear narrative. They continue instead a process of progressive subtraction. The same figure undergoes a gradual reduction of its visual exposure. Light diminishes, contours weaken, colour thins out. The body does not disappear, but withdraws, transforming presence into an unstable condition.
Subtraction becomes a position. Reducing visibility is not a formal effect, but an active gesture that questions the relationship between image and gaze. The figure remains present without offering itself fully, maintaining a constant tension between appearance and withdrawal.
The working process combines instinctive gesture and rigorous construction. Each work begins with a rapid, decisive pen sketch that already contains the emotional direction of the figure. In the transition to the digital, the image is analysed, synthesised and built through a measured, subtractive procedure. The precision of vector language allows for control over every minimal variation of line, rhythm and weight, turning loss of definition into a conscious choice.
The project gradually leads the image toward a threshold of minimal visibility. The final work approaches darkness not as a narrative conclusion, but as an extreme point of balance, in which the figure continues to exist while almost completely withdrawing from the gaze. In this space of retreat, presence is not denied, but held back.
The subsequent works do not construct a linear narrative. They continue instead a process of progressive subtraction. The same figure undergoes a gradual reduction of its visual exposure. Light diminishes, contours weaken, colour thins out. The body does not disappear, but withdraws, transforming presence into an unstable condition.
Subtraction becomes a position. Reducing visibility is not a formal effect, but an active gesture that questions the relationship between image and gaze. The figure remains present without offering itself fully, maintaining a constant tension between appearance and withdrawal.
The working process combines instinctive gesture and rigorous construction. Each work begins with a rapid, decisive pen sketch that already contains the emotional direction of the figure. In the transition to the digital, the image is analysed, synthesised and built through a measured, subtractive procedure. The precision of vector language allows for control over every minimal variation of line, rhythm and weight, turning loss of definition into a conscious choice.
The project gradually leads the image toward a threshold of minimal visibility. The final work approaches darkness not as a narrative conclusion, but as an extreme point of balance, in which the figure continues to exist while almost completely withdrawing from the gaze. In this space of retreat, presence is not denied, but held back.
