Abstract resonances at the limits of the visible.

If painting is the eminent place in which human beings question their relationship with the visible as such, the abstract paintings of Marco Pasqual's Conceptual Sequencing series seem to ideally ask the following question: what do we really "see", in the " real”, when we infinitely enhance our visual faculties? What image of reality is given back to us through that act of investigation, if the truth of the visible is only a sum of signs on an indefinable grain that emerge from an indistinct background?

In the Conceptual Sequencing series the artist investigates the complex dialectic between visible and invisible. Far from being pleased with an abstract mystique of the invisible, the artist completes an artistic operation of an almost philosophical nature: a visionary graphic representation of the process of conceptual sequencing of the specific symptoms of thought and language.

Speech samples were graphically depicted in a sequence of backgrounds, spaces, lines for a layered color classification based on the stages of an underlying cognitive process. The representation of frequencies, through the use of color for the various levels, aligned and overlapping, are correlated in a graphic synthesis to the conceptual sequencing of thought and associated with a unique configuration of an attentional, memory and conceptual sequencing process

Marco Pasqual's artistic research suggests that the knowledge of reality cannot ignore a rethought relationship between "realism" and "idealism", between "science" and "art", between "objective" and "subjective", between "visible" and “invisible”.

What we see on the canvas is, literally, something invisible. In no way does our daily visual consumption with the world encounter the microscopic grain of matter: it actually falls into the domain of the invisible. The pictorial operation therefore implies bringing the invisible back to the visible, inscribing a non-perceivable dimension of the phenomenon on the visible surface of the image.

At a superficial glance, this tension between abstractionism and realism, between subjectivity and objectivity, between the expressive dimension of art and scientific adherence to reality, between the invisible and the visible, at work in Marco Pasqual's pictorial images, seems to have the consistency of a contradiction incurable. There are many ways to think about the nature of this tension and strategies for resolving it. However, one gets the impression that Pasqual's art does not, strictly speaking, require the resolution of tension, but invites us to consciously inhabit it.