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Exhibition Judit Reigl, Galerie de France, Paris, 2006 © Photo P.H.Müller
"Phase one: I roll out fine cotton (240cm wide) starting from one of the corners of the studio, stapling only the top edge to the blocks, varying in thickness and the angle at which they incline, formed by my old paintings leant against the wall. Thus, the different planes, jutting out or receding, are covered the entire length of the studio, the empty space between the groups of paintings broken up. Also part of the wall, then the door, the material hanging vertically from these last two. Here we have a white path, uninterrupted, flowing, turning, changing direction in the corner of the studio, straddling obstacles, passing at once in front of and behind me, only stopping because it runs out of space."
"Phase two: I turn on the radio and find music, not as a stimulant or source of inspiration, but in order to push back the limits of my movements and gestures by placing a physical, exterior demand on them. I also start myself up, touching, punctuating, brushing lightly against the canvass at each step with a paintbrush dipped in solvent-based paint. I pick up and, at the same time, put out snippets (neither form, nor writing, nor line), horizontally, with each rippling step forward. Beginning at the top and moving from left to right, stretching myself out at first, then, as I fill the space, bending over more and more. Not stopping modulation of the music's frequency to the rhythm of my body and/or my body's rhythm to the frequency of the music. If the music stops, I stop; if it changes, I continue – in discontinuity – until the inscription, completely decoded, takes over all the available space (only leaving empty spaces where the pictorial field has no surface lying behind it, or when it is cut by the silence, or the angle, the projections shattering it)."
J. Reigl, in catalogue, Judit Reigl, Rétrospective, Maison de la Culture, Rennes, 1974
