Landscapes bear the marks of a series of decisions, between the documentary statement and the act of organising and building. The neutrality and indifference of ordinary subjects or unclaimed places lead us to a changing perception of space, an in-between-time that places painting on the side of the living, on the side of history, which, embodied by action, invests the course of events and time. Thus, traces and forms become elements, a collection of composite fragments that constitute a sediment, a texture. There is, therefore, a landscape matter waiting to be rehabilitated, a living organism made up of multiple layers, even saturated by its own density, which seems to invite us to reinvest from these constant changes, with a different way of looking at the world, as if we had to make something of this legacy, of these stories, of this continuity, of this famous requalification of spaces which is so omnipresent in the current reflection on art forms.