The preparation of the prop, the paper, is one of the essences of Rui Horta Pereira’s artistic production, which in TREADING ONCE AGAIN presents two series of drawings: Frontispiece and Moire. The first ones are dominated by black and white and by a certain iconic figuration which goes between spot and line, and in the second ones colour gently and sometimes boldly occupies the catharsis of the graphite which covers the surface in methodological and systematic experiment exercises. There are spatialities, voids, graphic suggestions, sumptuous outlines of colours and textures which take the drawing to the restlessness of sculpture and of the thinking of space. TREADING ONCE AGAIN is therefore ‘a sort of return to premises and preoccupations which express themselves in distinct formulations throughout the years, but that truly stem from a common matrix. They are thus two ways, two possible tracks’, he writes.