Jean Degottex moved from gestural signs resembling Oriental calligraphy – as seen in his Horsphères in the 1960s – to complex compositions that are far from monochrome. Always searching for a “minimum” form of art, Degottex began to explore a new technique on paper in the mid-1970s, transferring half of the sheet’s surface on to the other half by folding. He then used this imprinting technique in other media, such as his large linen canvases in the series Lignes-Report: “this minimal choice of materials leads to minimal resources and tools. For the operator, this means greater freedom of recognition; for the viewer, a greater openness of perception”. Producing black or white paintings (often on unbleached canvas), he meticulously traced horizontal or oblique lines to create a distinct space in his compositions.