"Gruppen," acrylic paint, collage, pigment, varnish.

This work bears a title that is not without significance: Gruppen (2026) explicitly engages in dialogue with Karlheinz Stockhausen's monumental piece Gruppen für drei Orchester (1955–57), one of the foundational works of 20th-century post-serial music. The correspondences are profound and structural. Stockhausen serializes everything: pitches, durations, timbres, intensities. The work is constructed from 126 sequences organized into a rigorous tableau, a mathematical architecture of absolute precision, in which the listener nevertheless perceives only movement, energy, life. I proceed in the same way with geometry. The rectangles fit together according to strict proportions. The three pictorial parameters—color, gesture, line—are distributed in space like the terms of a series: each appears only once in its pure form, but their interactions generate a richness that the rule alone could not have predicted. The vertical black line in the yellow is the accident that breaks the series—just as Stockhausen introduces tempo changes between orchestras.