‘This series of paintings began as full ceilings by Tiepolo or followers of Tiepolo, but departed from the sources quite quickly. They were more about trying to find a sort of “Tiepolo code”, thinking about movement and punctuating space, and how single marks could take on the attitude of a whole passage in one of the frescos. I began them while I was painting Barcarole, working with similar ideas and I think they then fed back into Bagatelle and also Fantasia when I began working back into it.’

Flora Yukhnovich, May 2020