Situated between an analysis of perception and painting, Rémy Zaugg’s series, A Sheet of Paper I & II, 1973–90, may be seen as an endless permutation of works, wherein each painting, each view, implies another.

Zaugg refers to his five-year journal, Constitution of a Painting, 1963–66, as a “student work,” which took a reproduction of Paul Cézanne’s La maison du pendu (House of the hanged man, 1873), as a starting point. In this exhibition, we follow his progress as a painter, after he has assimilated the knowledge of Cézanne’s concept of figuration. Thus, we find a series of approaches to