The exhibition views the image not as an isolated unit, but as the result of repetitions, variations, and processes of transmission. Based on this premise, it brings together works that demonstrate how a form can be perceived as stable or definitive when, in reality, it arises from a series of material and visual operations.

The archive is not presented as a repository, but rather as a relational structure that allows us to see differences, correspondences, and transformations between works. When arranged in a series, the images reveal the processes that produce them.

Among the works on display are painted epitaphs that mimic carved inscriptions and shift the solemnity of funerals toward humor and irony (…). Also included are pen studies, pen drawings, and color studies, in which the repetition of the stroke and the interaction between tool, material, and surface are integral to the work.

The project explores the production of images and the ways in which a form is constituted, transformed, and ultimately becomes legible.