In this series  by Gregory Logan-Dunn in Bon bon Le Morte exhibition is inscribed within the tradition of abstract painting understood as an expanded field of perceptual experience. Since the early explorations of Kandinsky, Malevich, and Rothko, abstraction has been conceived as a language capable of transcending figurative representation to place the viewer before the intangible: the spiritual, the atmospheric, the emotional. In this sense, the works gathered here engage with that genealogy, but from a contemporary perspective that emphasizes the material process and the physicality of color.

The use of overlapping layers, glazes, and textures recalls both European material painting (Tàpies, Dubuffet) and certain explorations of lyrical and gestural abstraction. However, far from a purely expressionist gesture, the series approaches what Rosalind Krauss described as a “logic of the expanded field”: a space where painting no longer represents, but becomes an event, a surface in constant transformation.

Color, more than an aesthetic resource, operates here as an active force. The compositions invite us to think of chromatic experience as an atmospheric phenomenon, in line with what Gilles Deleuze defined as “pictorial sensation”: a vibration that traverses the viewer before any translation into discourse. In this sense, what is presented are not images in the traditional sense, but perceptual experiences, territories constructed in the gaze.

The series, then, unfolds at the crossroads between history and contemporaneity: it reclaims legacies of 20th-century abstraction but updates them within its own register, where materiality, chromatic force, and gesture intertwine to propose a place of active contemplation. This is painting that deliberately shuns mimesis.