While writing and correcting my book my thoughts turned back to the start of my creative path, when I was collecting painter’s palettes. During this time I was also fighting to save the “Parisian,” which had been destroyed, as it was stored badly for several years. I tore the materials off the surface and into smaller pieces, which I then went on to secure. Some of these I had to throw out, because they were no good for further work. I kept a few dozen fragments. I decided to use a few of them to make two palettes on a surface. This was a very important moment for me, a summation of my experiences arising from collecting painter’s palettes during my studies. I decided to juxtapose this past experience with the present one, which led to the creation of the Monograph of the Painter’s Palette. At the start, the painter’s palettes I collected were mainly rectangular and did not have the traditional shape, with the hole and rounded edges. This testified to the simplification and reduction that had occurred in the perception of this object. In making the Monograph of the Painter’s Palette from fragments of the “Parisian,” I returned to the rectangular form. The white frame came about through eliminating the painter’s palette object. In the place where the object once was, there is the present material. The painter’s palette is not, therefore, tied to the object, but to the material. The empty white spaces that are left result from the movement of the material, and are meant to enhance the directional tensions and stand opposite the places where the material goes past the boundaries of the object and spills onto the frame. We are used to seeing the painter’s palette as an object, which means our consciousness sees it in a limited fashion. A look at the painter’s palette should be joined with the material, for this determines its shape. My actions have brought about changes not only in the definition of the painter’s palette and its premises, but also changes in its form and iconography. This causes a shift in our perception of the painter’s palette and a transition from object to material.