To those familiar with the work of Portuguese artist Ana Manso, her double evocation of the idea of “order” in her recent exhibitionboth in its title, “In Order of Appearance,” and in her emphasis on one of its structural pillarsmight come as a surprise. In her practice, which has been deeply rooted within the medium of painting, Manso has always rejected any form of order, much as she has avoided the manifold fields of representation. Instead, the notion of an endless “landscape” composed of layers of paint, which are reminiscent of capsules of timemoments in which the artist returns to the canvas in an attempt to add to the gradually composed surface, whether by appending another layer or by extending the surface of the painting as suchsuggests a form of abstraction based on the process of editing.
This operation connects Manso’s work to an invisible
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