Flatland (Edwin Abbott): one, two and three dimensions, to which others are added, perfectly conceivable from there. But the ternary rhythm may be the one that gives body to this work of three and more dimensions: a point, a scratch and a figure; a sheet of paper, a territory and a stage of action; a chair, an inclination and an applied force; an actress, an author or a person in movement; an object, a charred wood, a scratching material; a seat, a lightness and a pressure; a trail, a path and a point of arrival; a travelling, a projection and a mise en abîme; a diverted function, an unexpected space and a formal surprise; a dragging, a register and a location; a white paper, a work in black and white, an artist in tarnished white.
Fire, ash, marks, volumes, representations, perspective, black and white, gesture or action have long been a vocabulary of art; the chair, in turn, has emerged with particular uniqueness in the last half century of art. Brought by performance into a narrow, finite space, all these elements are nevertheless concentrated in an expressive vortex that projects them beyond any restriction: they «alchemise the damage», continuing their work in the world, in one of those other dimensions that we imagine or know follow the third.
