Is there such a thing as a body of Painting? But a body that does not simply yield to the weight of matter, to the thickening of painterly density understood as the layering and repetition of gesture, brush, and colour?

The next question, then, concerns the outcomes of answering those first questions affirmatively. That is: if it is possible for an artist to both descend and rise—toward the abstract heights—within the body of painting, their challenge becomes not to manifest its “pondus,” its sheer weight, but rather to render it as Painting in itself—absolutely and universally.

Painting that is paradigmatic, synthetic, never literary or narrative.
Painting that is nearly absent, like a sigh, a breath, a continuous exhale—one that humanity has not yet heard, neither from our planet nor from the stars.

Da “Herbert Hamak”, Luca Massimo Barbero, 2003