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INTERVAL

As a young artist,during my first visit to London's National Gallery, I encountered Édouard Manet'sThe Execution of Maximilian. I later learned that the painting had remained neglected in Manet's studio for many years and that, following his death, the damaged canvas was cut into fragments by his heirs.The surviving sections were eventually reassembled by Edgar Degas.

That encounter transformed my understanding of what a painting could be.The work existed not only as an image but as an object carrying the physical memory of its own history. Each fragment possessed a unique autonomy while remaining inseparable from a larger whole.That paradox has remained central to my thinking about painting ever since. Interval explores painting as an arrangement of relationships rather than a fixed image. Each work begins as part of a single composition before being divided into separate parts.The grid does not restore what once existed; instead, it generates new possibilities. Fragments that were once joined acquire a new autonomy, forming unexpected relationships in the spaces between them.

The works remain open to continual reconfiguration.Their arrangement may shift in response to architecture, ambient light and the surrounding space, allowing each installation to generate new visual and spatial relationships.Without a fixed centre or predetermined hierarchy, no single configuration is definitive. Each installation becomes a new constellation of relationships, shaped by place and by the intuitive decisions of those who live with the work.

Meaning emerges in the intervals—between fragments, between object and wall, between perception and memory.

- Miles Hall Montpellier July

2026