Michael Venezia emerged in the 1970s with a pictorial practice bordering on sculpture, and closely related to Minimal Art. His so-called Narrow-bar Paintings occupy a unique place in the contested zone between painting and sculpture. The cube-shaped wooden blocks are alligned on the wall at eye-level, compromizing a stabilizing horizontal zip around the exhibition space. The composition of the multi-partite blocks is determined by the temperature and the luminosity of the colours, drawing upon the Venetian colorist tradition. Colour is no longer a neutral element, but a fully-fledged medium.

Michael Venezia emerged in the 1970s with a pictorial practice bordering on sculpture, and closely related to Minimal Art. His so-called Narrow-bar Paintings occupy a unique place in the contested zone between painting and sculpture. The cube-shaped wooden blocks are alligned on the wall at eye-level, compromizing a stabilizing horizontal zip around the exhibition space. The composition of the multi-partite blocks is determined by the temperature and the luminosity of the colours, drawing upon the Venetian colorist tradition. Colour is no longer a neutral element, but a fully-fledged medium.