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Painting the possible.

 

To paint is to make visible.

 

In order to paint the possible in its indeterminacy and to make it visible, it was necessary to define the lowest common denominator of visibility: the limit.

 

I thus selected the 49 limits that my visual acuity enabled me to distinguish in a 3 cm square and decided to paint these limits, inside settings in which a protocol would seek to exhaust the chosen parameters, leaving the randomness, not the arbitrary, to determine their arrangement.

 

Other settings only focus on the central limit within a square, which may be isolated because it is unique, or on a non-orthogonal limit, still within a square.