Maryan Besaga

In Presence 3.04, space is no longer constructed from clearly separated fields of colour. Instead, they flow into one another, creating a complex field of transitions in which it becomes difficult to determine the precise boundary between one state and the next.

The recurring arc-like sign covers the entire surface of the work. It evokes, simultaneously, an imprint, a wave, an impulse, or the trace of a touch. Thousands of these micro-signs form a single pulsating structure — a kind of landscape in which visible form gives way to a sense of continuous movement.

The relationship of scale is particularly important here. Each individual sign is extremely small, almost elementary, yet through repetition it generates an expansive field. The microscopic becomes landscape. Through this shift in scale, the work can be perceived simultaneously as a fragment of a natural surface, an energy field, and an indeterminate space.

Unlike the almost dematerialized Presence 3.08, here presence feels more tangible. Dense green and blue rhythms gather in the lower part, gradually shifting into warm red-ochre zones above, before dissolving once again into a lighter field toward the top. Colour functions not as local colouring, but as a shift in the intensity of a particular state.