n the ON PAPER series, Federico treats paper and cardboard not as secondary supports but as a field of experiment where his vocabulary becomes more agile, immediate and improvisational. Works such as Rustic Green, Freestyle 22 or NotteTempo reveal a practice that is at once controlled and playful, where line and colour move with a freer rhythm than in the larger canvases, yet remain anchored in the same structural rigor.
The scale invites intimacy. The viewer stands closer, reading the pressure of the brush, the grain of the cardboard, the way acrylic and oil pastel catch on the surface. Colour planes collide, overlap and open small windows of raw material, while lines carve out paths that hint at landscapes, architectures or characters without settling into fixed images. This body of work functions like a laboratory in which ideas are tested, fractured and recombined. Motifs from other series appear in embryonic form and the tension between geometry and spontaneity becomes especially evident.
Paper makes every decision visible. There is less distance between thought and gesture, and the works carry the freshness of something just discovered, even as they remain fully resolved. ON PAPER reveals DiPinto’s process in a direct way, exposing the underlying drawing, the first intuitions of composition, the negotiation between solid blocks of colour and quick marks. Far from being minor works, these pieces expand the understanding of his practice, showing how the artist’s language is built through repetition, variation and risk.

Ainhoa Fernández