This name reflects the almost translucent quality of the painting, alluding to the way the abstract figures filter through the surface, as if they were about to disappear or be absorbed by the light. "Backlighting" evokes a sense of fragility and transience, suggesting that what is seen is only an ephemeral appearance that plays with shadows and light, inviting an introspective and subtle gaze.
This painting is a delicate play between transparency and fleeting presence. The almost white base offers an ethereal atmosphere, like a visual whisper that invites the viewer to immerse themselves in the softness of its surface. On this almost immaculate canvas, the abstract figures, subtly outlined, timidly emerge between the sgraffito, like fragments of a diffuse memory, barely perceptible, almost as if the work itself refused to define itself in concrete terms.
The technique used confers a sense of fragility and transience, as if the painting were a snapshot in time, a suspended moment that fades into space. The luminosity of the surface, which seems to be alive, plays with the subtle layers of pigment, revealing and hiding the abstract forms that melt into the air, evoking a sense of immateriality.
This canvas becomes a meditation on invisibility and absence, where the marks of the sgraffito act almost like traces of a step that has already gone, but which leaves an ephemeral imprint. As the viewer approaches, the shapes become clearer, but are never fully revealed, creating a constant dialogue between the intensity of presence and the delicacy of absence.