Among the works Binet has made for Galleria Mazzoli, there are both new iterations of gestures explored by the artist in the past, and new approaches to the painting-object. The first group might include, for example, the paintings made by wedging a can of spray paint between the canvas and the stretcher: the canvas applies pressure to the valve and makes the paint emerge, so the painting “paints itself.” In these works Binet confirms what might be called a true “refusal” both to paint the canvas and to “impregnate” it with his own artistic subjectivity. The precipitate of his gesture, in fact, is an imprecise, ambiguous sign whose interpretation is left up to the viewer.
Alongside these works, Binet presents paintings on canvas made in the past but recently reworked – or, more precisely, uprooted, smashed and dismembered – and then crossed on an iron frame. These works emerge from a gesture that is perhaps more ruthless than the one described above, a true attempt at annihilation of the self and its representations. This gesture, however, displays the truly radical nature of Binet’s procedure, an antagonism that leads the artist to think of creation as an attempt to dig an escape route for the painter-self, beyond the painting itself.