In cinema chroma- and digital-key processes are utilised in the service of illusionism. They function as blank screens, negative spaces awaiting the transposition and transformation of images.

Salvatore Panatteri’s chroma- and digital key series, which he began in the 1990s, and which have been exhibited internationally (Minus Space, USA; The Contemporary Centre Of Non Objective Art, Belgium; Museum für Konkrete Kunst, Germany) explore the potential of these technologies as entities in their own right.

For Panatteri, chroma- and digital-keys’ dynamic, abstract and luminous qualities convey a sense of interminable time and space, which differs from the finite time line of film. And in doing so, infinitudes that exist beyond the architonic structure of the frame, beyond the known world are proposed.