Before there was nothing, or almost nothing; afterwards, there isn't much, a few signs, but which are enough for there to be a top and a bottom, a beginning and end, a right and a left, a recto and verso1
Georges Perec, Species of Spaces and Other Pieces, Penguin 1993, P.10.
Georges Perec writes in Species of Spaces, ‘This is how space begins, with words only, signs traced on the blank page. To describe space is to name it, to trace it.’ 
Spaces conceived in the imagination invite activity, define time; pigeon hole possibilities. The geometric structures in these paintings ground elements of the here and now, the real and virtual, the present, future and the past. They play host to movement. Enter stage right, announcement. Stage left, the response.
In describing Botticelli’s Annunciation, Joseph D. Parry defines it, ’as everything is happening at once, the delivery of the message, the response to the message’. Between the messenger and respondent, a continuous loop. No words here , the dialogue, proposal and acceptance are depicted bodily, though curve and expression.
 Italo Calvino, Invisible Cities, Vintage 1997.
 Georges Perec, Species of Spaces and Other Pieces, Penguin 1993, P.13.
 Joseph D. Parry, Art and Phenomenology, Routledge 2011, P.186.
Georges Perec, Species of Spaces and Other Pieces, Penguin 1993, P.13.