Luca Moretti, trained as an architect before he was a painter, spent the salon arguing that his canvases are actually floor plans in disguise — hard edges standing in for walls, colour standing in for light at a particular hour. Ana Ferreira, a practising architect, tested that claim from the other direction, walking the room through buildings that seem to borrow their proportions from paintings rather than the reverse.
The two disagreed pleasantly on almost everything except one point: that the most honest rooms, built or painted, are the ones still slightly unresolved.
“A good painting behaves like a room you haven't finished furnishing.”