One of the starting problems in our painting was the openness of form. A painting already separates itself from the wall and from the world: it acquires boundaries and forms a certain whole. But for this wholeness — for the surface or the medium itself — to become visible, a breakdown is needed: noise, a rupture. At first such a rupture could be an uneven ground, a patch of colour, a cut, a puncture, a brush trace, an imprint, or a hole left in the earth by a fid. These were not images but gestures. For us, Noise was not a characteristic of the image but an instrument that intervenes in a form that has already emerged and prevents it from finally closing.
