Throughout the history of modern art, painting underwent an increasing rationalization of representation, progressively reducing form and color to vehicles of visual dynamics. This trajectory culminated in the experiments of artists such as Kazimir Malevich, whose Black Square liberated painting from mimesis and elevated it to the status of icon-symbol. Yet, despite this emancipation, painting remained confined to a virtual and optical space, detached from corporeality and action.

Operating from this unresolved condition, the present practice understands art history as a palimpsest: a system of accumulated inscriptions in which previous procedures remain active beneath new ones. Following Michel Foucault, this approach is not concerned with medium or support, but with systems of relations embedded in historical lineages of artistic procedures. The palimpsest thus functions as a relational structure rather than a material strategy.

This logic resonates with the anthropophagic principle articulated by Oswald de Andrade and later reactivated by Brazilian Neo-Concrete artists, in which prior cultural forms are absorbed and transformed rather than preserved or negated. In this context, the artwork is conceived as a quasi-corpus: a non-representational, phenomenological reality, aligned with Donald Judd’s proposition of an art without composition or illusion, freed from technical or material limitations.

While engaging with the modernist project, this position departs from the formalist autonomy defended by Clement Greenberg, expanding the work beyond optical specificity toward space, action and use. Participation becomes structural. As Lawrence Weiner argues, every artwork demands a judgment — even the decision to retain one’s gaze — and, within a context of use, this judgment is conditioned by use-value. The result of artistic practice may thus reside in the relationship established with the spectator.

Through Experiência Mexível (Movable / Handleable Experience), interaction becomes a mode of inscription. Each engagement adds a new layer without erasing previous ones, configuring the artwork as a palimpsest in continuous transformation. In this process, authorship and property are displaced. Echoing Richard Wollheim, artistic labor is understood as decision and project, extending across the entire creative process. The artwork exists as an open structure, defined by use, instability and continuous re-signification.

While this logic already informs the current practice, several questions remain open and require sustained time, dialogue and experimentation. One of the central questions concerns how participation reshapes authorship, responsibility and property once the artwork is understood as a shared surface of action rather than a closed form. If meaning emerges through use, how can this process be made visible, accumulative and transmissible without stabilizing it into a fixed result? Closely related to this is the question of how an artwork can retain historical density while remaining open to continuous re-inscription.