In White Paintings, Black Paintings or other Monochrome pieces the artist works from painting’s materiality, emphasising the time of the action rather than this materiality. Through the fragmentation of canvasses prepared on top of newspaper and with a basting process she constructs large-scale monochromes that reveal the constant actions of repetition with which they were made. The artist creates not as a traditional painter does overlapping brush-strokes, but revealing them and thus exposing away the process of manufacturing. The underlying concept of time is present in the multiplicity of each fragment and frailty of the basting used. In this way it allows the spectator a glimpse into the abyss of finding oneself confronted by a white canvas in which, in the end, it is the scraps of newspaper that allow one to establish narratives of origin and create fictions about the potential power of this language.