Action painting without action. The distance between intention and expression, which in much twentieth-century painting has been substantially eliminated in the burning proximity between the two poles, in which intention incinerated and resolved in the act of painting, is explored by the practice of Stefano Cescon.

Measured, mapped, almost cultivated to the point of dispersing its origin, its root. Because the hypnotic chromatic surfaces of his works, the glazes, the stratifications, the saturations and the outcrops, do not derive immediately from an intention or intuition - albeit unconscious. There is no mental image in the artist's intellect to be translated into a tangible picture. Daily work with matter (wax, paraffin, pigments) replaces the laws of intentionality. The transformation, the change of state, the mutation - not the blank canvas - constitute the starting point on which Cescon engages a mental work and a discipline of experimentation, which leads to a point where the metamorphosis manifests itself in complete forms. But this, as we know, only rarely happens.

And it is there, having reached the final stages of the process, that Cescon weighs with his eyes the countless results of his experiments. Only in a few specimens - as in the flash of someone who happens to see a friend again after a long time – does he recognize the germ of the idea that he had sown there at the beginning. His works are the magnificent phenotypes of a pictorial genome that he has learned to manipulate with patience, study, acumen, to the point of making his own grammar. Since the adoption of this language, made of mixtures of soft, poured and waited substances, its expressive spectrum has expanded the initial varieties of layered sedimentations, opening the field to more markedly pictorial solutions, which however do not lose the timbre of the thickness of the material. Cescon paints in the three dimensions of space, inscribing the temporal duration in the image.