Cali Rezo’s work stands in a demanding lineage: that of Western gestural abstraction and the avant-garde Japanese calligraphies. Her canvases, worked in black and white, unfold an intense dialogue where mass and void, shadow and light, find a fragile and fertile balance.

The monumentality of the forms summons the memory of Franz Kline¹, whose condensed energy she shares, yet Cali Rezo shifts that fulgurance toward a more interior temporality. Her gesture is not only explosion: it is inscription, persistence, resonance. Like the artists of the Bokujinkai group², who, in Japan, transformed calligraphy into a space of creative freedom, she explores the sign as a writing both universal and intimate, freed from language but still nourished by a deep memory.

Her trajectory shines light on this tension between spontaneity and structure: years of practice in printed image, of studying paper, typography and engraving, surface in each composition. The support is never neutral; it retains the trace of this relation to matter, to balance, to the organization of void and fullness.

Her works refuse immediacy. They demand a prolonged experience, where the eye lets itself be absorbed by the black masses, explores the luminous fractures, and discovers in the apparent silence the echo of a primordial gesture. These are not canvases to be "seen", but spaces to be inhabited, where the pictorial sign becomes breath, memory, and respiration.