Namely, even though there is no figure of substantial body in Fontana’s works, we could still figure out the effort and motion of body through the slash of canvas. It means that all the significant effects in Fontana’s work is located between the hole and the process of the cut.If the sculptor’s intension is reduced from many to a single gesture, then the character of the ‘physical act’ will be almost fully revealed.Similar to my work (fig17), the space of the hole, which is impacted by a single gesture, can be used to trace the process of acting.
However, the space of Fontana’s slashes, (each of them) only reflects the moment when the cutting hand is struck into the canvas. Also, due to the same gesture and the thin layer of surface, each slash in Fontana’s work is individualized without apparent connections. In comparison, the tool I select can be used to eject material and make impact at a distance. There is more movement capture compared to Fontana’s work. As the surface of my work is established from two to three dimension, it enables the viewersto trace the degree of arm’s angle as well as the direction of ejected material through the depth of each hole.
With the interaction between thick foundation and the ejection of material, the space of each hole in my redesigned work is linked to a successive movement, which is composed of different angles in the same gesture. In Fontana’s hands, despite the fact that the hole is presented in stillness, quiet, and mystery, it manages to evoke a dramatic association between the mechanical order and the uncontrollable violence. The first reason is because the multiplicity of the edge of the hole affects the whole canvas while the cut stands alone in a smooth field of pure colour.Secondly, light and shadow, interact at the point where the uneven curving planes at each side of the cut meet the slit of dark space(Whitfield,1999).