Painting description

- One of my most important paintings is a not very large picture on panel; but that is me then, as Van Lenc, and indeed in 1988 I painted the layers of reality described by the theory of Haloimpressionism over the fruit—of color, value, etc.—successive “halos” that I genuinely saw around objects and which, in sunlight, were especially clear to my eye—the painter’s—and in weaker light less visible but present. On certain days I even saw layers in front of the objects; I could adjust my eye’s focal length to whichever I chose. Today, in 2020, my father has probably finally won our painterly quarrel: he maintained that color dies in darkness, disappears, is not there—I said, “Not true!” believing it with all my heart. Well yes, but today I know that what remains to us then—in that darkness—is the IDEA—the idea of Haloimpressionism—which bids us to keep seeing, and to regard everything precious as even sacred, because it is sacred, and to paint then the halo layers even when not seen—conceptual ones—because they are true even when we have already lost our sight and do not see them; there will be those who will see them again.